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IBS-VOICE EXPANDABLE COMMAND MODULE 



Operation Manual 

© 2001 E-MU Systems 
All Rights Reserved 

FI12053 Rev. E 



E-MU World Headquarters 
E-MU Systems 

1600 Green Hills Road 

Scotts Valley, CA USA 

95067-0015 

Telephone: 831-438-1921 

Fax:831-438-8612 

Internet: www.emu.com 



Europe, Africa, Middle East 
E-MU Systems 

Suite 6, Adam Ferguson House 
Eskmills Industrial Park 
Musselburgh, East Lothian 
Scotland, EH21 7PQ 
Tel: +44(0) 131-653-6556 
Fax: +44(0) 131-665-0473 



Important Notice: 

In order to obtain warranty service on your unit, the serial number sticker must 
be intact and you must have a sales receipt or other proof of purchase. If there is 
no serial number sticker on the, please contact E-MU Systems at once. 

This product is covered under one or more of the following U.S. patents: 
4,404,529; 4,506,579; 4,699,038; 4,987,600; 5,013,105; 5,072,645; 
5,1 1 1 ,727; 5,1 44,676; 5,1 70,367; 5,248,845; 5,303,309; 5,31 7,1 04; 
5,342,990; 5,430,244 and foreign patents and/or pending patents. All other 
trademarks belong to their respective companies. Specifications and features 
are subject to change without notice. 



Proteus 2500 Operation Manual 



Table of Contents 



Introduction 1 

Product Description 1 

Important Safety Instructions 4 

Foreign Language Warnings - German 7 

Foreign Language Warnings - French 10 

Setup 15 

Unpacking 15 

Connection Instructions 16 

Basic Setup 16 

Studio Setup 17 

Performance Setup 18 

Power Down Sequence 19 

Rack Mounting Proteus 2500 19 

Instant Gratification 21 

Playing Patterns & Songs 21 

Playing Songs 23 

Playing Demo Sequences 24 

Auditioning Presets 24 

Selecting and Quick Editing Presets 25 

Exploring the Master Arpeggiator 27 

Multi-Channel Arpeggiator 28 

Time to Save? 29 



ii E-MU Systems 



Basic Operations 31 

Power Switch 31 

Volume Control 31 

Mode/View Buttons 32 

Track/Channel +/- Buttons 33 

Data Entry Control 33 

Left/Right Cursor Buttons 33 

LED View Select Section 33 

Sequencer Controls 34 

Stop Button 34 

Play Button 34 

Record Button 34 

Song Record modes 34 

Pattern Record modes 34 

Tap Tempo 34 

Edit Section 35 

Song Edit Button 35 

Pattern Edit Button 35 

Preset Edit Button 35 

Global Button 35 

Controllers Button 35 

Arpeggiator Button 36 

Real-time Controller Knobs 37 

Knob Functions 38 

Quick Edit mode 38 

Programmable Knobs mode 39 

Multichannel Volume Knobs 39 

Multichannel Pan Knobs 40 

Trigger Buttons 41 

Trigger Mode 41 

Preset Menu Jump Keys 41 

Knob Bypass, Glide, Erase & Repeat 42 

Knob Bypass 42 

Glide Button 42 

Erase Button 42 

Repeat Button 42 

Preset Screen 43 

MIDI Channel Selection 43 

Preset Selection 43 

Channel Volume 44 

Channel Pan 45 

Channel Arpeggiator 45 

Sound Navigator 46 

Preset Category 46 

Instrument Category 46 



Proteus 2500 Operation Manual 



Sequencer 47 

Overview 48 

Definitions 48 

Events 48 

Tracks 48 

Patterns 48 

Pattern Recording & Editing 49 

The Asterisk 49 

Standard MIDI Files 49 

Songs 50 

Song Record Modes 50 

Event Timing 51 

Track Priority 51 

Pattern Mode 52 

Pattern Play 52 

Realtime Recording 53 

Preparing to Record a Pattern 53 

Input Quantize 53 

Count In 55 

Pattern Length 56 

Metronome 56 

Recording a Pattern 56 

Automatic Channel Assignment 60 

Grid Recording 61 

What is Grid Recording? 61 

Step Time Recording 66 

Note Value/Number of Ticks 66 

Pattern Edit Menu 68 

Track Enable/Mute Buttons 68 

Name Pattern 68 

Pattern Length 68 

Setting Meter (Time Signature) 69 

Metronome 70 

Quantize 71 

Quantize Parameters 71 

More about Swing 72 

Scale/Shift Duration 73 

Thin Events 74 

Erase Events 75 

Transpose 76 

Scale/Shift Velocity 77 

Extend Sequence Data To 78 

Erase Track 79 

Cut Track to Clipboard 80 

Copy Track to Clipboard 81 

Paste Clipboard to Track 82 

Channel Assign 84 

Multichannel Track Recording 85 

Aux Channel Assign 86 



iv E-MU Systems 



Note List Editor 87 

Event List Editor 88 

Continuous Controller Edit 88 

Continuous Controller Screen 88 

Pitch Strip Edit 88 

Pitch Strip Screen 88 

Poly Pressure Edit 89 

Poly Pressure Screen 89 

Program Change Edit 89 

Program Change Screen 89 

The Conductor Track (track 0) 90 

Conductor Track Screens 90 

Revert to Saved Pattern 91 

Song Mode 92 

Song Play 92 

Song Step Recording 92 

Realtime Song Recording 94 

Song Edit Menu 97 

Song Name 97 

Event Source 97 

Setting Meter (Time Signature) 98 

Metronome 99 

Quantize 99 

Scale/Shift Duration 100 

Thin Events 101 

Erase Events 102 

Transpose 103 

Scale/Shift Velocity 104 

Cut Track to Clipboard 105 

Copy Track to Clipboard 106 

Paste Clipboard to Track 107 

Song Channel Assign 108 

Note List Editor 109 

Event List Editor 110 

Continuous Controller Edit 110 

Continuous Controller Screen 110 

Pitch Strip Edit 110 

Pitch Strip Screen 110 

Poly Pressure Edit Ill 

Poly Pressure Screen Ill 

Program Change Edit Ill 

Program Change Screen Ill 

Revert to Saved Song 112 

Connection Example 113 

Using the Internal Sequencer with an External MIDI Keyboard 113 



Proteus 2500 Operation Manual v 



Controllers Menu 115 

Realtime Control Functions 116 

Keyboard Transpose 116 

Keyboard Channel 116 

Local Control On/Off 116 

Footswitch Jack Function 117 

Trigger Buttons Function 118 

Trigger Buttons 119 

Trigger Button Select 119 

Latch on/off 119 

MIDI Key 119 

MIDI Channel 119 

Destination 119 

Key Velocity 119 

Programmable Knobs 120 

Knob Preset Quick-Edit 120 

Real-time Controller Assignment 121 

MIDI Footswitch Assign 122 

Tempo Controller 122 

Global Menu 123 

Multisetups 124 

Restoring Multisetups 124 

Multisetup Name 125 

Saving Multisetups 125 

Defining Global Parameters 126 

Transpose/Tune 126 

Bend Range 126 

Velocity Curve 127 

Mix Output 128 

Master Effects 130 

Effects Mode 130 

Effects Multi Mode Control 130 

Master FXA Algorithm 131 

A Effect Types 131 

FXA Parameters: Decay/HF Damping FxB -> FxA 132 

FXA Send Amounts 132 

Master FXB Algorithm 132 

B Effect Types 133 

FXB Parameters: Feedback/LFO Rate Delay Time 133 

FXB Send Amounts 133 

Miscellaneous Parameters 134 

Edit All Layers Enable 134 

User Key Tuning 134 

Output Format 134 

Screen Viewing Angle 135 



vi E-MU Systems 



MIDI Menu 137 

Base Tempo 138 

Rechannelize Input 138 

Knobs Output MIDI 140 

Transmit MIDI Clock 140 

External Song Start/Stop 140 

Merge MIDI In to MIDI Out 141 

MIDI In Channels 141 

MIDI Enable 141 

Receive Program Change 142 

MIDI Program Change -> Preset 142 

MIDI SysEx ID 143 

MIDI SysEx Packet Delay 144 

Send MIDI System Exclusive Data 144 

MIDI Mode 146 

Programming Basics 147 

Modulation 148 

Modulation Sources 149 

Random Sources 150 

Modulation Patchcords 150 

Envelope Generators 151 

Tempo-based Envelopes 152 

Envelope Repeat 152 

Low Frequency Oscillators (LFOs) 153 

Clock Modulation 154 

Modulation Destinations 156 

Modulation Processors 157 

Preset Modulation Processors 159 

Using the Modulation Processors 161 

More Examples 163 

Dynamic Filters 165 

What is a Filter? 166 

Parametric Filters 169 

The Z-Plane Filter 170 

Signal Flow 171 

MIDI Channels & Real-time Controls 172 

Bank Select Commands 174 

Stereo Mix Outputs 174 



Proteus 2500 Operation Manual vii 



Preset Edit Menu 177 

Preset Name 178 

Four Layer Architecture 178 

Selecting Layers 179 

Denning Layer Parameters 180 

Selecting an Instrument 180 

Sound Navigator 180 

Defining Key Range 181 

Defining the Velocity Crossfade Range 183 

Defining the Real-time Crossfade Range 185 

Transposing the Instrument 188 

Tuning 189 

Background: Transpose vs. Coarse Tuning 189 

Amplifier 189 

Volume Envelope 190 

Selecting the Mode 190 

Defining the Volume Envelope 191 

Chorusing the Layer 192 

Sound Start Offset and Delay 192 

Non-Transpose Mode 193 

Solo Mode 193 

Assign Group 194 

Glide 195 

Z-Plane Filters 196 

Proteus 2500 Filter Types 196 

Filter Types 196 

Filter Parameters 198 

Filter Envelope 199 

Defining the Filter Envelope 200 

Auxiliary Envelope 200 

Low Frequency Oscillators (LFOs) 201 

Shape 201 

Sync 202 

Rate 202 

Delay 204 

Variation 204 

Patchcords 205 

Modulator Polarity 206 

Pitch Bend Range 208 

Mix Output 208 

Common Preset Parameters 209 

Preset Effects 209 

FXA Algorithm 211 

A Effect Types 211 

FXA Parameters 212 

FXA Send Amounts 212 

FXB Algorithm 212 

B Effect Types 212 

FXB Parameters 213 



viii E-MU Systems 



FXB Send Amounts 213 

Preset Patchcords 213 

Initial Controller Amount 215 

Keyboard Tuning 216 

Preset Links 218 

Preset Tempo Offset 219 

Audition Riff Selection 219 

Play Solo Layers 219 

Arpeggiator/Beats Menu 221 

Arpeggiators 222 

Arp Controllers 223 

Arpeggiator Resolution 223 

Arpeggiator Extension 223 

Arpeggiator Velocity 223 

Arpeggiator Gate 223 

Arpeggiator Interval 223 

Master Arpeggiator Parameters 223 

Status 224 

Mode 224 

Note Value 225 

Arpeggiator Pattern Speed 225 

Pattern 225 

Velocity 226 

Gate Time 226 

Extension Count 227 

Extension Interval 227 

Sync 228 

Pre-Delay 228 

Duration 229 

Post-Delay 229 

Recycle 230 

Keyboard Thru 230 

Latch 230 

Send MIDI System Exclusive Data 231 

Editing a User Arpeggiator Pattern 232 

Pattern Step Number 232 

Key 232 

Key Offset 233 

Tie 233 

Rest 233 

Skip 233 

End 233 

Velocity 234 

Duration 234 

Repeat 234 

User Pattern Name 235 

Multichannel Arpeggiating 235 



Proteus 2500 Operation Manual ix 



Beats 236 

Beats Mode 238 

Status 238 

Beats Channel 238 

Trigger Channel 238 

Beats Controllers 241 

Beat Velocity Group 1-4 241 

Beat Xpose Group 1-4 241 

Beat Busy 241 

Beat Variation 242 

Beats Keys/Trigger Layout 243 

1-Bar Trigger Option 243 

Beats Keys Offset 244 

Beats Part Velocity 244 

Beats Part Transpose 245 

Beats Part Group 246 

Master Riff 246 

Riff Tempo 247 

Riff Controllers 247 

Effects 249 

Effects Overview 249 

The Effects Sends 249 

Effect Types 251 

Effect Parameters 251 

Decay 252 

High Frequency Damping 252 

Feedback 252 

LFORate 252 

Delay 252 

Effects Programmed in the Preset 253 

Master Effects 254 

Effects Mode 256 

Flexible Effects Control 256 

Using the Effects Channel Settings in Multi Mode 258 

Effect B Into Effect A 258 

General Effect Descriptions 260 

Reverb 260 

Chorus 261 

Doubling 261 

Slapback 261 

Stereo Flanger 261 

Delay 262 

Stereo Delay 262 

Panning Delay 262 

Dual Tap 262 

Vibrato 262 

Distortion 262 



x E-MU Systems 



Save/Copy Menu 263 

Save Pattern 263 

Saving a Preset 264 

Copying Information 265 

Copy Preset 265 

Copy Layer 265 

Copy Patchcords 266 

Copy Preset Patchcords 267 

Copy Arpeggiator Settings 267 

Copy Arpeggiator Pattern 268 

Copy Preset Bank 268 

Copy Sequencer Pattern 269 

Save Song 269 

Copy Song 270 

Sound Authoring 271 

Rename Flash SIMM 272 

Duplicate Flash 273 

Create Random Preset 274 

Preset Programming 275 

Editing Presets 275 

Changing the Instrument 275 

Changing the Tuning of an Instrument 276 

Chorus 277 

Volume Envelope 277 

Working with Filters 279 

Adding the Filter Envelope 281 

Changing Filter Types 283 

Envelope Repeat 283 

Practice Modulating 284 

Troubleshooting 285 

Linking Presets 286 

Appendix 287 

Front Panel Knob Functions 287 

Knob Controller Descriptions 288 

Presets 288 

Proteus 2500 Preset Categories 288 

Preset Listing 289 

Proteus 2500 Pattern Layout 293 

Pattern Track List 293 

Pattern Listing 294 

Song Listing 294 

Riff Listing 295 

Instrument Listing 299 

Velocity Curves 308 



Proteus 2500 Operation Manual xi 



Patchcord Amount Chart 310 

Rhythmic Notation 311 

Time Signatures 311 

Block Diagrams 312 

Volume& Pan 312 

MIDI In 313 

Block Diagrams 314 

Triggers & Programmable Knobs 314 

Quick Edit 315 

E-MU Expansion Sound Sets 316 

Installing Sound SIMMs 318 

MIDI 320 

Received Channel Commands 327 

Technical Specifications 328 

Warranty 329 

Index 331 



xii E-MU Systems 



Introduction 



Product 
Description 



Upgradable Sounds 

Proteus 2500 contains a new collection of presets designed for music 
composition in a wide variety of styles. Proteus 2500 contains three 
additional, user-upgradable sound SIMM sockets, allowing you to mix and 
match sound sets according to your needs. New sounds can be added as 
easily as plugging in a new 16MB or 32MB SIMM module. Each E-MU 
sound set has been meticulously crafted to be the finest of its kind. Samples 
are matched across the keyboard, perfectly looped, and rich in harmonic 
texture. 



1024 Presets & more 

Proteus 2500 contains 512 user presets and 512 factory ROM presets, but it 
can be expanded with literally thousands of ROM presets. (ROM presets are 
automatically added when sound SIMMs are installed. As an example, a 32 MB 
SIMM may contain up to 1024 ROM presets.) Proteus 2500's Sound Navigator 
makes it easy to find the exact sound you want. It's powerful, yet simple to 
use. 



Multi-Function Controllers 

Multi-function buttons allow you to trigger sequences, arpeggiators and 
loops internally or on any of your other MIDI devices. They can act as Note 
Inputs for Grid or Step recording, Track Select, Mute or MIDI Trigger 
buttons (latched or unlatched). 

Sixteen real-time controller knobs are also multi-function controls. These 
knobs make it a snap to edit and modify internal preset parameters. 
Another useful mode allows the knobs to control volume and pan for all 
sixteen MIDI channels. These controllers are fully programmable and can 
control internal preset or other MIDI equipment on multiple MIDI 
channels. They can be programmed to adjust multiple internal parameters 
at once, allowing complex levels of control. For example, a single knob can 
simultaneously turn up filter cutoff, while detuning one sample, and 
adjusting the release time of the volume envelope. Virtually every synth 
parameter in the Proteus 2500 is controllable using the real-time knobs or 
by any internal or external control source. 



Proteus 2500 Operation Manual 1 



Introduction 



Super Sequencer 

Proteus 2500 contains a powerful, yet simple to use 16-track interactive 
sequencer. You can record in real-time, step and grid modes and can switch 
modes without ever stopping your creative flow. Sixteen dedicated Mute/ 
Select buttons allow you to add, monitor and modify parts on the fly 
without cumbersome menu scrolling. It's never been this easy to lay down 
your ideas. The Proteus 2500 Command Station can store over 300,000 
notes and you can import and export MIDI files to and from your Mac or 
PC using E-MU's E-Loader program. 

Multi-Channel Arpeggiators 

Proteus 2500's Rhythmic Pattern Generator/ Arpeggiator can play up to 32 
synchronized arpeggiator patterns at once using a different sound for each! 
Patterns can be edited using pattern flow commands such as: delay for 2 
bars, play for 4 bars, hold for 2 beats and repeat. You can program or 
download 100 user patterns in addition to the 200 factory patterns. 

Ultra Powerful Synthesizer 

The extremely flexible yet easy to use 4-layer synthesizer voices make it 
easy to build sounds of any kind. Layers can be switched or crossfaded 
using key position, velocity, real-time controllers or any modulation source. 
128 voice polyphony ensures that you can play and sequence the most 
complex material. Proteus 2500 also contains 50 different 2nd to 12th order 
resonant & modeling niters which are used to shape and modify over 1200 
waveforms contained in 32 megabytes (MB) of ROM. 

Sixty four modulation sources include three multistage envelopes and two 
LFOs per layer, as well as full MIDI control over virtually every parameter. 
The digital patch bay, with 24 cords per layer, (and 12 more cords per 
preset) lets you connect modulation sources to 64 destinations in any 
imaginable way. The patch bay also contains a set of arithmetic modifiers, 
allowing you to create complex synthesis models. Synth parameters as well 
as arpeggiator and BEAT tempos can be controlled from Proteus 2500 
internal clock (or an external MIDI clock). Up to 8 LFOs and 12 envelopes 
can be perfectly synchronized at different rates. 



24-bit Effects 

Once you have created your preset, you can add richness to your sound 
using Proteus 2500's 24-bit stereo effects. You can choose a different effects 
setup for each preset from over 60 algorithms. Proteus 2500's effects section 
is actually two separate effects processors with control over each wet/dry 
mix level on four effects sends. Effects Processor "A" contains primarily 
ambiance algorithms like reverb and delays, while effects processor "B" 
contains primarily spectral algorithms such as chorus, flange, phase, 
distortion, and delay. Effects can be linked to each preset or used globally to 
further enhance your sound. 



2 E-MU Systems 



Introduction 



Other features include multiple solo, voice assignment and performance 
modes for expressive control, 12 user-definable alternate tunings, and, of 
course, an extensive MIDI implementation. 



Proteus 2500 Operation Manual 3 



Important Safety Instructions 



Grounding 
Instructions 



Mains Switch 



Danger! 



Important Safety Instructions 



Use in countries other than the U.S.A. may require the use of a different 
line cord or attachment plug, or both. Refer all servicing to qualified service 
personnel. There are no user serviceable parts or adjustments inside the 
unit. There are no user serviceable parts inside the power supply enclosure. 

WARNING: To reduce the risk of fire or electric shock, do not expose this 
product to rain or moisture. 



This product must be grounded. If it should malfunction or break down, 
grounding provides a path of least resistance for electric current, reducing 
the risk of electric shock. This product is equipped with a cord having an 
equipment-grounding conductor and a grounding plug. The plug must be 
plugged into an appropriate outlet properly installed and grounded in 
accordance with all local codes and ordinances. 



The front panel On/Off switch is a "Soft" power switch that can be used to 
turn power on and off when the Proteus 2500 is rack mounted. Use the AC 
power switch on the rear panel if you wish to completely disconnect 
Proteus 2500 from the AC mains. 



d W M'WIVA T0 REDUCETHE RISK OF FIRE OR ELECTRICAL SHOCK. 
lihuullwlVg DO NOT EXPOSE THIS PRODUCT TO RAIN OR MOISTURE. 







•100-240VAC 50/60flz1A 



Improper connection of the equipment's grounding conductor can result in 
the risk of electric shock. Check with a qualified electrician or service 
personnel if you are in doubt as to whether the product is properly 
grounded. Do not modify the plug provided with this product. If it will not 
fit the outlet, have a proper outlet installed by a qualified technician. 



4 E-MU Systems 



Important Safety Instructions 



User 

Maintenance 

Instructions 




This symbol is intended to 

alert you to the presence of 

important operating and 

maintenance (servicing) 

instructions in the literature 

accompanying the unit. 




This symbol is intended to 
alert you to the presence of 

uninsulated dangerous 

voltage within the product's 

enclosure that may be of 

sufficient magnitude to 

constitute a risk of electric 

shock to persons. 



1. The Proteus 2500 should be kept clean and dust free. Periodically wipe 
the unit with a clean, dry, lint free cloth. Do not use solvents or 
cleaners. 

2. There are no user lubrication or adjustment requirements. 

Caution -Servicing instructions are for use by qualified personnel only. To reduce 
the risk of electric shock, do not perform any servicing other than that contained 
in these operating instructions unless you are qualified to do so. Refer all servicing 
to qualified service personnel. 

INSTRUCTIONS PERTAINING TO A RISK OF FIRE, 
ELECTRIC SHOCK, OR INJURY TO PERSONS 

READ THESE INSTRUCTIONS: When using electric products, basic precau- 
tions should always be adhered to, including the following: 

1. Read all instructions before using Proteus 2500. 

2. Keep these instructions. 

3. Heed all warnings. 

4. Follow these instructions. 

5. Do not use this apparatus near water. 

6. Clean only with a dry cloth. 

7. Install in accordance with E-MU's instructions. Do not block any 
openings. This apparatus should be situated so that its location or 
position does not interfere with proper ventilation. The ventilation 
should not be impeded by covering the ventilation openings with items 
such as newspapers, tablecloths, curtains, etc. 

8. Do not install near any heat sources such as radiators, heat registers, 
stoves, or other apparatus (including amplifiers) which produce heat. 

9. Do not defeat the safety purpose of the polarized or grounding-type 
plug. A polarized plug has two blades with one wider than the other. A 
grounding-type plug has two blades and a third grounding prong. The 
wide blade or the grounding prong are provided for your safety. If the 
provided plug does not fit into your outlet, consult an electrician for 
replacement of the obsolete outlet. 

10. Protect the power cord from being walked on or pinched, particularly at 
plugs, convenience receptacles, and at the point where they exit from 
the apparatus. 

11. Use only attachments/accessories specified by E-MU Systems. 

12. Use only with the cart, stand, tripod, bracket, or table specified by 
E-MU or sold with the apparatus. When a cart is used, use caution when 
moving the cart/apparatus combination to avoid injury from tip-over. 
It is recommended that Proteus 2500 be rack mounted. You'll need (4) 
rack spaces to fit Proteus 2500 into your rack. 



Proteus 2500 Operation Manual 5 



Important Safety Instructions 




This symbol is intended to 
alert you to use caution when 

moving a cart/apparatus 
combination to avoid injury. 



Radio and 

Television 

Interference 



13. Unplug the apparatus from the power outlet during lightning storms or 
when left unused for a long period of time. 

14. Refer all servicing to qualified service personnel. Servicing is required 
when the apparatus has been damaged in any way, such as power 
supply cord or plug is damaged, liquid has been spilled or objects have 
fallen into the apparatus, the apparatus has been exposed to rain or 
moisture, the apparatus does not operate normally or has been 
dropped. 

15. No open flame sources, such as lit candles, should be placed on the 
apparatus. 

16. The apparatus is designed for use in moderate climates. 

17. The apparatus shall not be exposed to dripping or splashing. No objects 
filled with liquids, such as vases, shall be placed on the apparatus. 

18. To reduce the risk of injury, close supervision is necessary when using 
the apparatus near children. 

19. The apparatus should be connected only to a power supply of the type 
described in the operating instructions and marked on the product. 

20. This product, in combination with an amplifier and headphones and 
speakers, may be capable of producing sound levels that could cause 
permanent hearing loss. Do not operate for a long period of time at a 
high volume level or at a level that is uncomfortable. If you experience 
any hearing loss or ringing in the ears, consult an audiologist. 



The equipment described in this manual generates and uses radio- 
frequency energy. If it is not installed and used properly — that is, in strict 
accordance with our instructions — it may cause interference with radio 
and television reception. 

This equipment has been tested and complies with the limits for a Class B 
computing device in accordance with the specifications in Subpart J of Part 
15 of the FCC rules. These rules are designed to provide reasonable 
protection against such interference in a residential installation. However, 
there is no guarantee that the interference will not occur in a particular 
installation, especially if a "rabbit ear" TV antenna is used. 

If Proteus 2500 does cause interference to radio or television reception, you 
can try to correct the interference by using one or more of the following 
measures: 

• Turn the television or radio antenna until the interference stops. 

• Move Proteus 2500 to one side or the other of the television or radio. 

• Move Proteus 2500 farther away from the television or radio. 

• Plug Proteus 2500 into an outlet on a different circuit than the television 
or radio. 

• Consider installing a rooftop antenna with a coaxial lead-in between the 
antenna and television set. 



6 E-MU Systems 



Foreign Language Warnings - German 



Foreign Language Warnings 
- German 



Wichtige 

Sicherheits- 

vorschriften 



In Landern ausserhalb den U.S.A. konnen andere Kabel oder Stecker 
notwendig werden. Zur Verminderung des Risikos von Feuer oder eines 
elektrischen Schlages iibergebe man den Service an qualifizierte Fachleute. 
Das Gerat niemals Regen oder Nasse aussetzen. 



Erdungsin- 
struktionen 



Das Gerat muss geerdet sein. Bei einem Defekt oder Ausfall bietet Erdung 
dem elektrischen Strom den Weg des geringsten Widerstandes und 
reduziert das Risiko eines Schlages. Dieses Gerat ist mit einem geerdeten 
Kabel und Stecker ausgeriistet. Der Stecker muss in eine passende, 
einwandfrei montierte und geerdete Steckdose in Ubereinstimmung mit 
den ortlichen Vorschriften eingefuhrt werden. 



Gefahr 



Unvorschriftsgemasser Anschluss des Gerates kann zum Risiko eines 
elektrischen Schlages fuhren. Im Zweifelsfalle iiber die ordnungsgemasse 
Erdung soil ein qualifizierter Elektriker oder eine Serviecestelle beigezogen 
werden. Andern Sie den mitgelieferten Stecker nicht. Sollte er nicht in die 
Steckdose passen, soil die einwandfreie Installation durch einen qualifi- 
zierten Techniker erfolgen. 



Vorsicht 



Wird der Proteus 2500 in einem Rackgestell montiert, muss ein offener 19- 
Zollrahmen verwendet werden. 



Proteus 2500 Operation Manual 7 



Foreign Language Warnings - German 



Unterhaltsin- 
struktionen 
fur anwender 



Vorsicht 




Dieses Symbol weist den 

Anwender auf wichtige 

Gebrauchs- und Service- 

Vorschriften in den beilieg- 

enden Drucksachen. 




Dieses Symbol verweist auf 

nicht-isolierte Stromspan- 

nungen im Gerate-lnnern, 

welche zu einem elektrischen 

Schlag fuhren konnten. 



1. Proteus 2500 soil sauber und staubfrei gehalten werden. Das Gerat mit 
einem sauberen und saurefreien Tuch periodisch abreiben. Keine 
Losungs- oder Reinigungsmittel anwenden. 

2. Schmieren und Justieren sind nicht notwendig. 

3. Bei weiteren Servicefragen wende man sich an eine qualifizierte Service- 
stelle. 



Diese Gebrauchsanweisungen sind nur fur qualifizierte Techniker 
beabsichtigt. Um die Gefahr eines elektrischen Schlages zu vermeiden, 
sollen Sie keine Arbeit unternehmen, die nicht in diesen Instruktionen 
vorgeschrieben ist. Wenden Sie Sich bei weiteren Servicefragen an eine 
qualifizierte Servicestelle. 



INSTRUKTIONEN BETR. FEUERRISIKO, 
ELEKTROSCHOCK ODER VERLETZUNG VON 
PERSONEN 

WARNUNG; Beim Einsatz elektrischer Gerate sollten 
folgende Vorsichtsmassregeln stets beachtet werden: 

1. Lesen Sie vor dem Einschalten des Proteus 2500 alle Instruktionen. 

2. Zur Vermeidung von Verletzungsrisiken miissen Kinder bei einge- 
schaltetem Proteus 2500 sorgfaltig iiberwacht werden. 

3. Proteus 2500 nicht in der Nahe von Wasser in Betrieb nehmen -- z.B. in 
der Nahe von Badewannen, Waschschiisseln, auf nassen Gestellen oder 
am Swimmingpool. 

4. Proteus 2500 stets so aufstellen, dass seine Beliiftung nicht beein- 
trachtigt wird. 

5. Proteus 2500 nicht in der Nahe von Hitze aufstellen, wie Heizkorper, 
offenem Feuer, Ofen oder von Backofen. 

6. Proteus 2500 ausschliesslich mit einem Netzgerat gemass Bedienung- 
sanleitung und Geratemarkierung verwenden. 

7. Dieses Gerat kann bei Verwendung von Kopfhorern und Verstarkern 
hohe Lautpegel erzeugen, welche zu bleibenden Gehorschaden fuhren. 
Arbeiten Sie nicht wahrend langerer Zeit mit voller Lautstarke oder 
hohem Lautpegel. Stellen Sie Gehorverlust oder Ohrenlauten fest, 
wenden Sie sich an einen Ohrenartz. 

8. Proteus 2500 kann mit einem polarisierten Kabelstecker (mit ungle- 
ichen Stiften) ausgeriistet sein. Das geschieht fur Ihre Sicherheit. 
Konnen Sie den Stecker nicht in die Steckdose einfiihren, andern Sie 
nicht den Stecker ab, sondern wenden Sie sich an einen Elektriker. 



8 E-MU Systems 



Foreign Language Warnings - German 



9. Das Netzkabel des Proteus 2500 bei langerem Nichtgebrauch aus der 
Steckdose Ziehen. 

10. Vermeiden Sie sorgfaltig das Eindringen von Gegenstanden oder 
Fliissigkeiten durch die Gehauseoffnungen. 

11. Das Gerat soil durch qualifizierte Serviceleute gewartet werden, falls: 

A. das Netzkabel beschadigt wurde, oder 

B. Gegenstande oder Fliissigkeit in das Gerat gelangten, 

C. das Gerat Regen ausgesetzt war, oder 

D. das Gerat nicht normal oder einwandfrei arbeitet, oder 

E. das Gerat stiirzte oder sein Gehause beschadigt wurde. 

12. Servicearbeiten sollten nur qualinzierten Fachleuten anvertraut werden. 



DIESE INSTRUKTIONEN AUFBEWAHREN 



Proteus 2500 Operation Manual 9 



Foreign Language Warnings - French 



Instructions 
de Securite 
Importantes 



Instructions 
de Mise a la 
Terre 



Danger 



Attention 



Instructions 

de 

Maintenance 



Foreign Language Warnings 
French 



Une utilisation dans des pays autres que les U.S.A. peut necessiter l'usage 
d'un cordon d'alimentation different. Ann de reduire les risques d'incendie 
ou d'electrocution, referez-vous a un personnel de service qualine, et 
n'exposez pas cet appareil a la pluie ou a l'humidite. 



Cet appareil doit etre relie a la terre. Dans le cas d'une malfonction 
eventuelle, la terre fournit un passage de moindre resistance pour le courant 
electrique, reduisant ainsi les risques d'electrocution. Le Proteus 2500 est 
equipe d'un cordon muni d'un conducteur et d'une fiche devant etre 
branchee dans une prise appropriee et reliee a la terre en conformite avec 
les normes locales. 



Une connexion incorrecte peut resulter en des risques d'electrocution. 
Verinez avec un technicien qualine si vous avez des doutes quant a la 
connexion. Ne modifiez pas vous-meme le cordon d'alimentation livre avec 
cet appareil; s'il ne rentre pas dans la prise, faites-en installer un autre par 
un technicien qualifie. 



Si le Proteus 2500 est installe dans un rack, utilisez un rack standard ouvert 
de 48.25cm. 



1. Le Proteus 2500 doit etre maintenu propre et sans poussiere. Nettoyez- 
le periodiquement a l'aide d'un chiffon propre et non-pelucheux. 
N'utilisez pas de solvants, ou d'autres produits de nettoyage. 

2. Aucune lubrification et aucun reglage ne sont necessaires de votre part. 

3. Pour tout autre service, referez-vous a un personnel qualifie. 



10 E-MU Systems 



Foreign Language Warnings - French 




Ce symbole vous alerte de la 

presence d'instructions 

importantes d'operation et 

de maintenance dans la 

notice accompagnant 

I'appareil. 




Ce symbole vous alerte de 

la presence d'un voltage 

non-isole dangereux a 

I'interieur de I'appareil, 

pouvant etre d'une 

magnitude suffisante pour 

constituer un risque 

d'electrocution. 



Instructions Concernant les Risques d'lncendie, 
d' Electrocution, ou de Blessures Corporelles. 

ATTENTION: Lorsque vous utilisez des appareils electriques, 
certaines precautions elementaires doivent tou jours etre prises, 
incluant les suivantes: 

Ces instructions de depanage sont destinees uniquement aux personnes 
qualifiees. Ann d'eviter les risques d'electrocution, n'effectuez que les opera- 
tions decrites dans ce manuel, a moins que vous ne soyez qualifie pour cela. 
Faites effectuer toute reparation par une personne qualifie. 

1. Lisez bien toutes les instructions avant d'utiliser le Proteus 2500. 

2. Ann de reduire les risques de blessures, une attention particuliere est 
necessaire en la presence d'enfants en bas age. 

3. N'utilisez pas le Proteus 2500 dans ou pres d'endroits humides - par 
exemple pres d'une baignoire, d'un lavabo, dans les toilettes, dans une 
cave humide, sur un bar frequente, en presence d'un bull-dog en rut, ou 
dans une piscine pleine. Protegez cet appareil de tout liquide, 
eclaboussure ou fuite. 

4. Le Proteus 2500 doit etre place de facon a ce que sa position n'interfere 
pas avec sa propre ventilation. 

5. Le Proteus 2500 doit etre place loin de sources de chaleur telles que des 
radiateurs, cheminees, fours, ou groupies en chaleur. 

6. Le Proteus 2500 doit uniquement etre connecte a une alimentation du 
type decrit dans les instructions d'operation et tel qu'indique sur 
I'appareil. 

7. Une attention particuliere doit etre observee quant aux objets pouvant 
tomber et aux liquides pouvant etre verses sur et a I'interieur de le 
Proteus 2500. 

8. Le Proteus 2500 peut etre equipe d'une fiche secteur polarisee (avec une 
broche plus large que l'autre). C'est une mesure de securite. Si vous ne 
pouvez pas brancher cette fiche dans une prise, ne neutralisez pas cette 
securite. Contactez plutot un electricien pour remplacer la prise 
obsolete. 

9. Evitez de marcher sur le cordon d'alimentation ou de le coincer, 
particulierement pres des prises de courant, des boitiers 'electriques dt 
du point de sortie de I'appareil. 

10. Le cordon d'alimentation de le Proteus 2500 doit etre debranche 
lorsque ce dernier n'est pas utilise pendant une longue periode. 

11. Cet appareil, combine avec un amplificateur, des haut-parleurs, et/ou 
un casque, est capable de generer des niveaux sonores pouvant 
occasionner une perte de l'ouie permanente. Ne travaillez pas trop 
longtemps a un volume trop eleve ou meme inconfortable. Si vous 
observez une perte de l'audition ou un bourdonnement dans les 
oreilles, consultez un O.R.L. 

12. N'utilisez que les accessoires sp'ecifi'es par E-MU Systems. 



Proteus 2500 Operation Manual 11 



Foreign Language Warnings - French 



Interferences 
Radio et 
Television 



13. Cet appareil doit etre examine par un personnel qualifie lorsque: 

A. Le cordon d'alimentation a ete endommage, ou 

B. Des objets sont tombes, ou du liquide a ete verse sur/a l'interieur 
de l'appareil, ou 

C. Le Proteus 2500 a ete expose a la pluie, ou 

D. Le Proteus 2500 est tombe, ou 

E. Le Proteus 2500 ne fonctionne pas normalement, ou affiche un 
changement radical de performance. 

14. Tout service doit etre effectue par un personnel qualifie. 



SAUVEGARDEZ CES INSTRUCTIONS 



L'appareil decrit dans cette notice genere et utilise une energie de 
frequence-radio. S'il n'est pas installe et utilise correctement - c'est a dire en 
suivant strictement nos instructions - il peut occasionner des interferences 
avec la reception d'une radio ou d'une television. 

Cet appareil a ete teste et est conforme aux normes de Classe A en accord 
avec les specifications du paragraphe J de la section 15 des lois FCC. Ces lois 
sont designees pour fournir une protection raisonnable contre de telles 
interferences dans une installation residentielle. Toutefois, il n'est pas 
garanti qu'aucune interference n'apparaisse dans des installations 
particulieres, et plus specialement lorsqu'une antenne de television en 
«oreilles de lapin» est utilisee. 

Si le Proteus 2500 occasionne des interferences , vous pouvez essayer de les 
corriger en utilisant une ou plusieurs des mesures suivantes: 

• Tournez l'antenne de la tele ou de la radio jusqu'a ce que les inter- 
ferences disparaissent. 

• Deplacez le Proteus 2500 d'un cote ou de l'autre de la tele ou de la radio. 

• Eloignez le Proteus 2500 de la tele ou de la radio. 

• Branchez le Proteus 2500 sur une prise differente que la tele ou la radio. 

• Installez une antenne sur le toit munie d'une connexion coaxiale entre 
elle et le poste de television. 



12 E-MU Systems 



Declaration of Conformity 




Manufacturer: 

E-MU Systems 

1600 Green Hills Road 

Scotts Valley, CA 95067-0015 USA 



We hereby declare that the equipment listed herin conforms to the 
harmonized standards of the following European Commission Directives: 
89/336/EEC and 72/23/EEC. 

Trade Name: Proteus 2500 

Model Number: 9150 

Under 89/336/EEC as amended by 92/31 /EEC, and 93/68/EEC 

In accordance with EN 55103-1:1996, Emission Environments E4 

In accordance with EN 55103-2:1996, Immunity Environments E4 

Test information is contained in a report by Atlas Compliance and 
Engineering, Inc. 

Dated July 5, 2001 

Report No.: 0126EMUxl7_103 

Under 73/23/EEC as amended by 93/68/EEC 

In accordance with EN 60950 with amendments Al, A2, A3, A4, All 



This Declaration is made July S, 200 1 



Proteus 2500 Operation Manual 13 



Foreign Language Warnings - French 



14 E-MU Systems 



Setup 



This section thoroughly describes how to set up your new Proteus 2500 for 
use. Setup includes unpacking instructions, how to hook up the unit to 
your sound system and, most importantly, how to turn the thing on and 
off. 



Unpacking 



Carefully remove Proteus 2500 from the packaging material. Take care to 
save the packing materials in case you need to transport the unit. Check to 
make sure all components are included and in good condition. If there are 
missing or damaged components, contact E-MU Systems immediately for 
replacement or repair. 

The Proteus 2500 box should include the following components: 

• Proteus 2500 unit 

• Power cable 

• This operation manual 

• Command Station CD-ROM 



Proteus 2500 Operation Manual 15 



Setup 
Basic Setup 



Connection 
Instructions 

Basic Setup 



% 



The Right Main output 
jack carries a mono mix of the 
left and right channels when the 
Left Main plug is not plugged in. 

The Left Main output jack is a 
stereo jack carrying both 
channels when the right output 
jack is empty. 



MIDI Keyboard 



The Headphone 
Output is located 
on the Front Panel 







ra 




EE-MU 

P2500 COMMAND MODULE 



R bUBJ L b*™'l, fi™ IN L 



ssssss-OOO* 6 mmm 



Power 
Switch 



Main Outs 
to Mixer In 



Mixer 



110V/220V 
50-60 Hz 

(auto-select) 



Amp ■ 



fff 


1 

1 


III 


llll 












Footswitches 



© 



7T 



Speakers 



© 



Power Switch & AC Receptacle 

The AC power switch located on the rear panel is a "hard" power switch. 
The front panel On/Off switch is a "soft" power switch that can be used to 
turn power on and off when the Proteus 2500 is rack mounted. There is no 
110/220 Volt power selector switch since Proteus 2500 utilizes an auto- 
switching power supply which accepts from 100V-250V, 50-60Hz. 

Outputs 

In order to reproduce Proteus 2500's wide dynamic range and frequency 
response, use a high quality amplification and speaker system and a stereo 
setup is highly desirable The headphone output is the same as the Main 
output signal. The headphone jack is located on the left side of the front 
panel. 

Footswitches 1 & 2 

Connect one or more momentary footswitches for additional control. 
Proteus 2500 auto-senses either normally-open or normally-closed switches 
when they are plugged in. Their functions are programmable in the 
Controllers, Footswitch menu and the Preset Edit, Patchcord menu. 



16 E-MU Systems 



Setup 
Studio Setup 



Studio Setup 



X) Channels 01 A-16A 
normally go to MIDI Out port A 
and channels 01 B-16B 
normally go to MIDI Out port B. 



MIDI Controller 

(MIDI Keyboard, etc.) 




MIDI In 

In this setup, Proteus 2500 is controlled by MIDI messages received at the 
MIDI input, which are routed by a computer MIDI interface. Any MIDI 
controller, such as a MIDI keyboard or a computer, can control the module. 

MIDI Out 

Proteus 2500 contains two MIDI output ports (A & B) so that it can transmit 
on 32 MIDI channels instead of the usual 16. 

Audio Outputs 

Three sets of programmable stereo outputs (Main, Sub 1, and Sub 2) are 
provided. The internal effects are available only on the Main outputs. 
Specific presets (or MIDI channels) can be routed to one of these stereo 
pairs in order to be processed further or mixed separately. The S/PDIF 
output duplicates the function of the main outputs. 

Footswitches 1 & 2 

The two footswitch inputs accept either normally-open or normally-closed 
momentary footswitches and are programmable in the Controllers, 
Footswitch menu and the Preset Edit, Patchcord menu. 



Proteus 2500 Operation Manual 17 



Setup 
Performance Setup 



Performance Setup 



MIDI Controller 

(MIDI Keyboard, Sequencer) 



:W) M-g 



uiiiiiu 



Additional 
MIDI 
Devices 




EE-MU 

P2500 COMMAND MODULfe 



, __ 






:# «) {•) i'O0O',0 ® ® hi 




® 
'o 



y S/PDIF In 



Digital Effect 



• 09 C 



3 0000 0. 



Analog Out 




Sub Output 

Return 

(To Main Output) 



XT 



® 



1 Ring 
To Effect From Effect 

SEND/RETURN CABLE 

Signal is sent out on tip of plug and 
returned to main outputs via ring of plug. 



MIDI In 

In this setup, Proteus 2500 is controlled by a MIDI keyboard. 

Audio Outputs 

The Sub 1 and Sub 2 output jacks are stereo jacks. The tip of each jack 
(accessed when a standard phone plug is inserted) connects to the left or 
right output of that group. The S/PDIF output is a digital copy of the stereo 
signal on the main outputs. 

If you insert a stereo plug into one of the Sub Outputs, the ring of the plug 
serves as a signal Return which sums into the Main outputs. 

Therefore, the Sub 1 and Sub 2 jacks can serve as effect sends and 
returns in order to further process selected instruments and then 
return them to the main mix. 



18 E-MU Systems 



Setup 
Power Down Sequence 



Power Down 
Sequence 



Rack Mounting 
Proteus 2500 



You can use the Sub 1 and Sub 2 jacks as send/returns in order to further 
process selected Proteus 2500 presets without using the effects bus on the 
mixing board. In a pinch, the effect returns can be used to sum additional 
instruments into the main outputs. It's like having an extra line mixer 
when you need more inputs! 

Output Section 



R Bus 




LBus 



Tip 



< Ring 




Tip 



= ^> : 



< Ring 




SUB 2 SUB 1 MAINS 

You can use the Sub 1 and Sub 2 jacks as effect returns to the Main Outputs. 

Note that the Effects Processors are only routed to the Main Outputs. 



To avoid accidentally turning off the power while playing Proteus 2500, the 
front panel power switch incorporates a five second "fail-safe" feature when 
powering down. Once the power down sequence has begun, you have five 
seconds to press the power switch again and stop Proteus 2500 from 
turning off. 



**** POWERING DOWN 
Press On / Off to Rbort . 



Proteus 2500 can be rack mounted if you so desire. You'll need (4) rack 
spaces to fit Proteus 2500 into your rack. 



Proteus 2500 Operation Manual 19 



Setup 



20 E-MU Systems 



Instant Gratification 



This section presents step-by-step instructions for the most fundamental 
operations to get you up and running as quickly as possible. 



Playing Patterns & 
Songs 



When you turn Proteus 2500 on, it comes up in Pattern mode. Proteus 2500 
comes with over a hundred factory patterns. The Pattern screen is shown 
below. 



T 01 STOP Ln:08 
000° Rmbideep 



BanOl .1 



► To Play Patterns 

1 . Select a pattern using the data entry control. 

2. Press the Play button, located near the center of the unit. The pattern 
begins playing and the lower line of the display changes. 



T 01 STOP Ln:08 BanOl .1 
CurPat: 002° NextPat: 002° 



3. While the pattern is playing, select another pattern using the data 
entry control. The name of the pattern to be played next is now shown. 
Notice that the Home/Enter LED is now flashing. 



T 01 STOP Ln:08 
015° Club Luv 



BanOl .1 



Proteus 2500 Operation Manual 21 



Instant Gratification 
Playing Patterns & Songs 



^ 



Proteus 2500's buttons 
have been designed so that you 
can slide your fingers across 
them to quickly mute and 
unmute tracks. 



s — n — > 

O Quick Edit o Program o Volume oPan 



Press the Home/Enter button to select the new pattern. The lower line 
of the display now shows the numbers of the Current and Next 
patterns. The new pattern will begin playing when the current pattern 
has finished. 



T 01 STOP Ln:08 Bar:01 .1 
CurPat: 002° NextPat: 022° 



5. Select a new pattern, press Stop, then press Play to change patterns 
without waiting for the current pattern to end. 

Track Muting 

6. Press the Track Enable/Mute buttons to bring tracks in and out. Every 
factory pattern has from eight to sixteen tracks. The LED in each button 
illuminates when a track is enabled (unmuted). The diagram below 
shows the default factory track assignments. 



MAIN PARTS 
Misc Misc 



Misc 



Misc 



Lead 
1 



Comp Vox (Hit/Vox 2) (Comp2) (Lead 2) (Bass 2) Bass 

2 3 4 5 6 7 8 




aEZErrcna 



Kick 
Pattern 1 



Snare 
Pattern 1 



Hat 
Pattern 1 



Perc 1 
(Fill 1) 



Kick 
Pattern 2 



Snare 
Pattern 2 



Hat 
Pattern 2 



Perc 2 
(Fill 2) 



9 


10 


11 12 13 14 


15 


16 


t 1 




EDDD 




□ 




MAIN GROOVE ALTERNATE GROOVE 



Track Mixing 

7. Press the Mix button (located beneath the LCD) while a pattern is 
playing. The Channel Volume display screen appears, showing the 
volumes of all 32 channels. 



CH V0L5 
01R:125 



8. Now press the Controller Function Select button (located above the 
controller knobs) twice so that Volume is selected. 



22 E-MU Systems 



Instant Gratification 
Playing Songs 



\ 



If you move the cursor 
underneath the Preset Name 
before changing the preset, 
another bass preset will be 
selected. 



Playing Songs 



^\ Press the Pattern Mode 
button while a Song is playing 
to loop on the current pattern. 
Pressing Song Mode continues 
playing the song. 



9. The sixteen controller knobs now function as volume controls for MIDI 
channels 01A-16A. 

• While we're on the subject of Tracks and Channels, it might be a good 
time to mention that in all the factory patterns, a given track will control 
the MIDI channel of the same number. That means Track 1 will play the 
preset on channel 01A, track 2 will play channel 02A and so on up to 16. 
Feel free to turn the knobs and remix the pattern. The LEDs next to the 
knobs flash to indicate activity on that channel/track. 

Change the Sound 

10. Adjust your remix so that track 8 (the bass) is the most prominent 



11. 



12 



instrument in the mix. 

Press the Preset View button and select Track 8 using the Track/ 
Channel buttons to the left of the LCD. 



Now repeatedly press the Controller Function Select button until 
"Quick Edit" is selected. 

13. Now the knobs control the bass sound. You know what to do. 

14. Turn the data entry control to completely change the preset. 

15. Use the Track/Channel select buttons to change any of the presets. In 
Proteus 2500's default mode, the keyboard is active on whichever preset 
is showing in the preset view screen. They can be set to always play a 
specific channel in the Controllers menu (page 116). 

• Nothing is made permanent until you save the pattern or preset, so play 
around as much as you like. 

jump Back 

16. You can jump between Volume mode, Quick Edit mode or Pattern 
mode at any time without missing a beat. Select a new pattern, tweak 
parameters, change the mix, enable or mute tracks. 



Now that you've explored Pattern mode a little, check out Song mode. In its 
most basic form, a song is just a sequence of patterns chained together one 
after another. 

► To Play a Song 

1. Select Song mode by pressing the Song button located underneath the 
LCD. (Stop the sequencer first.) 

2. Select one of the factory programmed songs using the data entry 
control. 

3. Press Play. The song begins playing. 



Proteus 2500 Operation Manual 23 



Instant Gratification 
Playing Demo Sequences 



Playing Demo 
Sequences 



Auditioning Presets 



^\ To audition presets with 
their programmed effects, switch 
to Omni or Poly mode (located 
in the MIDI menu). Remember 
to switch back to Multi mode 
before playing sequences again. 



Proteus 2500 has several factory demonstration sequences that let you hear 
what this incredible machine can do. The actual number of demo 
sequences depends on which ROM sounds sets are installed. You can play 
these demo sequences by accessing the Demo Sequence page. 



DEMO SEQUENCES 
The Sky Club 



2500 



► To Play a Demo Sequence 

1. Press and hold the Song and Pattern buttons at the same time to enter 
the Demo Sequence page. The screen shown above appears. 

2. Select a sequence using the data entry control. The Enter LED will be 
flashing. 

Press the Enter button to begin playing the selected sequence. The 
following screen appears. 



3. 



PLRYING: The Sky Club 
Press ENTER to stop 



Press the Enter button again to stop playing the sequence. 

When a demo sequence plays to the end, the next demo will automati- 
cally begin playing. The screen will display the new demo name. 

With the sequence stopped, press any other button to Exit demo 
sequence mode. 



The front panel audition button allows you to hear any preset in Proteus 
2500 without even playing a note! When the Audition button is pressed, 
the button's LED will illuminate and a short "Riff" (programmed as part of 
the preset) will play. The Riff is latched on and plays continuously until the 
button is pressed again. Presets can be changed while Audition is latched. 

The top line of the Preset View display changes to show the MIDI Bank 
Select controller values needed to select the preset being auditioned. This is 
an extremely handy feature when sequencing. 



Bank 
125 2 



MSB:017 LSB:2 
gtr: Jazzy Comp 



2500 



24 E-MU Systems 



Instant Gratification 
Selecting and Quick Editing Presets 



Selecting and Quick 
Editing Presets 



► To Audition a Preset 

1 . Select Preset View mode by pressing the preset button in the Mode/ 
View section immediately below the LCD. 

2. Select a preset by turning the data entry control while the cursor is 
anywhere on the lower line. The preset number field (shown above) is 
the normal position of the cursor and pressing the Enter button will 
return the cursor to this position. 

3. Press the Audition button on the front panel. The Audition LED will 
illuminate and a short riff will play the selected preset. 

4. Continue to select and audition presets. 

5. Press the Audition button again to turn Audition mode off. The LED 
will extinguish. 

6. Play the keyboard. 

7. Be sure to check out the controller knobs and mod wheel. 



The first thing you'll do with the Proteus 2500 is select and play the factory 
provided presets. Proteus 2500 comes standard with 8 banks containing 
128 presets each. See "Preset Screen" on page 43. 





Initial 


Initial 






Channel 


Volume 


Pan 


Arpeggiator 


Preset 


Number 

i 


Setting 
i 


Setting 

i 


Setting 
i 


Location 
i 



COIR V127 POIn R:off User 



1S5 B « 



key: SynhissOrgan 



.v. 



■■ ^ ^ — 

i \ \ 
i \ 

Blinking Preset 
Cursor Number 



T" 



Bank 
Number 



-N- 



Preset 
Category 



\ 



N 

Preset 
Name 



The first four banks are USER locations that can be overwritten and used to 
store your own presets. The presets that come stored in the USER presets are 
duplicated in banks 0-3 of the "2500" ROM bank, so feel free to overwrite 
them with your own presets. You won't be losing anything. 

The ROM Card identifier is shown in the top right of the display. The preset 
is identified in the bottom line of the main screen (the screen that appears 
when you press the Mode/ View Preset button). 

Each bank of 128 presets is identified by a superscripted Bank Number to the 
right of the preset number. The bank numbers reset to at the start of each 
ROM card you have installed. So with the 2500 ROM installed, the USER 
banks will go from 0-3, then start over from 0-3 for the 2500 ROM banks. 



Proteus 2500 Operation Manual 25 



Instant Gratification 
Selecting and Quick Editing Presets 



X 



You can select presets 
from the Preset Number, Bank 
Number, Preset Category or 
Preset Name fields. 



% 



Notice that an asterisk 
appears in the display when you 
change the knobs. This indicates 
that you have edited the preset. 




Bank Organization 



USER 
USER 
USER 
USER 

2500 
2500 
2500 
2500 



BankO 
Bank 1 
Bank 2 
Bank 3 

BankO 
Bank 1 
Bank 2 
Bank 3 



1 28 Presets 
1 28 Presets 
1 28 Presets 
1 28 Presets 

1 28 Presets 
1 28 Presets 
1 28 Presets 
1 28 Presets 



The User Banks 
are duplicated 

in the 2500 

ROM bank. 

The four User Banks can hold 512 custom presets. Feel free to overwrite these since the 
factory user presets are duplicated in nonvolatile ROM. 

To the right of the preset number and bank is the preset Category name 
followed by the Preset Name. 



1. 



2. 



3. 



4. 



5. 



To Change the Preset 

Press the Preset button in the Mode/View box directly below the liquid 
crystal display. The main Preset selection screen appears. 

The cursor will be located under the first character in the Preset Number 
field. This is the "Home" position which is selected instantly when you 
press the Home/Enter button. Pressing either of the two cursor buttons 
repeatedly also gets you there. 

Turn the data entry control knob on the front panel to select a new 
preset number. If you turn the knob slowly the presets advance one 
number for each "click" of the knob. If you spin the knob quickly the 
numbers advance much faster (more than one number per click). 

Play the keyboard (or press the Audition button) and listen to the 
sounds made by your Proteus 2500! 

TRY OUT ANY OF THE 16 KNOBS on the front panel (in Quick Edit 
mode) and note how they change the sound of each preset! Don't worry 
about ruining the sound, the values are automatically reset as soon as 
you select a new preset. 



26 E-MU Systems 



Instant Gratification 
Exploring the Master Arpeggiator 



Exploring the Master 
Arpeggiator 



X 



Try using control knobs 
7 5 <& 1 6 to change the 
arpeggiator parameters. 



Proteus 2500's multi-channel Pattern Generator/ Arpeggiator is one of the 
greatest features ever put in a synth. Let's explore the Master Arpeggiator. 

► To Arpeggiate a Single Preset: 

1. Select a preset. Note that the factory presets all have prefixes which 
describe the type of sound. For this investigation it might be best to 
choose a preset with the prefix "arp," for arpeggiator. These presets are 
optimized for use with the arpeggiator. 

2. Set the Arp parameter in the main preset selection screen to "M" for 
Master Arpeggiator. 



C01 
000° 



V127 POIr R:M 
arp: Guitartar 



3500 



3. Press the Arp button in the Edit section of the front panel to access the 
master Arpeggiator menu, then use the data entry control to scroll to 
the screen shown below. 



MRSTER RRPEGGIRTOR 
Status on 



4. Make sure the arpeggiator Status is "on." Play the keyboard to start 
arpeggiating. 

5. Press either cursor key repeatedly to move the cursor below the Status 
field. 

6. Turn the data entry control clockwise one click. The Mode screen 
appears. 



MRSTER RRPEGGIRTOR 
Mode up 



Use the cursor keys to move the cursor to the Mode field (up, down, up/ 
down, forw asgn, backw asgn, forw/backw, random, pattern). Try out 
the different modes as you play the keyboard. 

Move the cursor back to the lower left position and explore the other 
parameters. The Note Value parameter changes the rate of the arpeggios. 
By the way, note value is a divisor based on the Master Tempo. Try 
changing the tempo, but come right back. 



Proteus 2500 Operation Manual 27 



Instant Gratification 
Multi-Channel Arpeggiator 



X 



See the Arpeggiator 
Chapter for detailed information 
on creating Patterns. 



Multi-Channel 
Arpeggiator 




9. Let's check out the pattern generator. Go back to the Mode screen and 
set the mode to "Pattern". 

10. Now advance to the Pattern screen (shown below) and move the cursor 
to the Pattern Number field (the second field from the left). 



MRSTER RRPEGGIRTOR 
Pattern 38° Inversions 



11. Try the various patterns. There are 200 permanent factory patterns and 
100 user locations to store the patterns you create. Each pattern can 
have up to 32 notes. 



Proteus 2500 is totally unique in its ability to run up to 32 arpeggiators at 
once! Even two or three patterns at once can create very complex sequences 
and dynamic landscapes of sound. 

Here's one way to access this ultra-powerful feature. There is one arpeg- 
giator for each MIDI channel. First you'll assign three of the Trigger Keys to 
MIDI channels 01A-03A. Next, you'll assign arpeggiator presets to these 
channels. Then you'll become addicted to this new way of making music. 

Program the Trigger Keys 

1. Press the Controllers button, then turn the data entry control until the 
screen shown below appears. 

2. Move the cursor until it is underneath the Latch field and turn Latch 
mode On. 

3. Move the cursor until it is underneath the Channel field (Ch) and set 
the channel to 01 A. 

4. Move the cursor until it is underneath the Trigger field (Tl) and 
change the Trigger to T2 (trigger button 2). 

5. Turn Latch On for trigger button 2 and set the channel to 02A. 

6. Change the Trigger to T3 (trigger button 3). 

7. Turn Latch On for trigger button 3 and set the channel to 03A. 

Set up the Presets 

8. Press the Preset View button (located beneath the LCD). The preset 
select screen appears. 



28 E-MU Systems 



Instant Gratification 
Multi-Channel Arpeggiator 



X 



Sometimes a simple 
volume change will bring out 
hidden voices and patterns. 



^ 



Multisetups save your 
entire Proteus 2500 setup. Find 
out more on page 124. 



9. Move the cursor underneath the Category field (as shown above) and 
select the "arp" category. 

10. Move the cursor underneath the preset name and select any "arp" 
preset for channel 1A. 

11. Press the "+" Track/Channel select button (located to the left of the 
LCD), so that C02A is displayed. 

12. Select any other "arp" preset for channel 2A. 

13. Select channel 03A and choose another arp preset. 

Select Trigger Mode 

14. Press the Selector Button in the upper left corner of the Command 
Functions section. Pressing this button will switch between Track 
Enable/Mute and Triggers mode. Select Triggers mode. 

Play it! 

15. Now press Trigger Buttons 1, 2 and 3. You should be hearing three 
arpeggiators playing at once. 

16. Change the arp preset on the current MIDI channel. Since the cursor is 
located on the preset name, all your selections will be in the arp 
category. 

17. Press the Track/Channel button and change the arp presets for 
channels 1A, 2 A & 3 A. Since each factory preset has differently 
programmed arpeggiator settings, changing the preset not only changes 
the sound, but the arpeggiator as well. 

18. You can also play the keypads. You'll be playing the preset currently 
showing in the display. 

19. Press the Control Select button above the knobs so that "Quick Edit" is 
selected. Adjusting the front panel control knobs now modifies the 
preset showing on the LCD. 

20. Press the Control Select button above the knobs again so that 
"Volume" is selected. The first three knobs now control the volume of 
each arpeggiator preset. 

There's lots more to the arpeggiators. To find out more, refer to the 
arpeggiator chapter beginning on page 221. 

Time to Save? 

If you want to SAVE everything exactly as it is, continue on. 

1. Press the Save/Copy button. 

2. Rotate the data entry control until you get to the menu shown below. 

3. Press the right cursor button to move to the lower line. 

4. Name your Multisetup so you can find it later, then press Enter. 

5. Scroll to the next screen using the data entry control. 

6. Move the cursor to the lower line, select a location and press Enter. 



Proteus 2500 Operation Manual 29 



Instant Gratification 



30 E-MU Systems 



Basic Operations 



Basic Operations 



Track/ Channel 



®0 s — D — > -L_i 

^^Dn/uee QQuicKEDrroPfiOQftAM qVdlume qPan 



n( 



Q' O 



f ilter Q Filter Attack Filter Decay 




I Amp Attack Amp Decay 



p Sustain Amp Release 



CO' o 



I Vel— Amp Vel-Filt 



o a 



L.F02 Amount L.FD2 Rate 



Anp Velocity Arp Gate 



I Touch strip Hold Glide Erase 



Mode/View 



El E1IE1 ETJ 



Pattern I Preset 



FHHzni 



TmidiJ 

a' To 



oci a 

Song Pattern Preset 

El El El El 

Global Controllers Arp MIDI 



Audition Compare Save/Copy Home /Enter 



o 



aa 



■MU 



O Tempo O Pattern O Bar. Beat O Truck/Channel 



Stop Play Record 



O Realtime 
O Grid 
O Step 



a 



Q Track Enable/Mute O Triggers 

OJW 0^32"° o'jTb^tput •j£tt 



1 nammm 

■ Name/ Ranocb Tun i no Amp chomjo/ Sold/ Filter auk 

-, instrument delay glide 

1 mmmm 



Power Switch 



Volume Control 



The Proteus 2500 front panel contains an LCD screen, 49 buttons, and 16 
real-time controller knobs. Functions are grouped logically and the controls 
are arranged for ease of use. 



The front panel On/Off switch is a "Soft" power switch that can be used to 
turn power on and off when the Proteus 2500 is rack mounted. Use the AC 
power switch on the rear panel if you wish to completely disconnect 
Proteus 2500 from the AC mains. 

The power switch incorporates a "fail-safe" feature when powering down. 
Once the power down sequence has begun, you have five seconds to press 
the power switch again and stop Proteus 2500 from turning off. 



This control is the master volume control for all audio outputs. The Volume 
Control does not affect any editing or user interface operations. The front 
panel volume control is a digital attenuator. For maximum dynamic range, 
turn this knob all the way up and control the volume from your mixer or 
amplifier. 



Proteus 2500 Operation Manual 31 



Basic Operations 
Mode/View Buttons 



Mode/View 
Buttons 



s*> 



An asterisk (*) appears in 
the Pattern, Song or Preset 
display to indicate that the item 
needs to be saved. 



Mode/View 



□ □ □ □ 



Song 



Pattern 



Preset 



Mix 



The Song and Pattern buttons change both the mode and current display 
view. Pressing Song or Pattern places the Proteus 2500 in the selected mode. 

Since Song and pattern are Mode buttons, the LEDs stay on when they have 
been selected, even if Preset or Mix view buttons are activated. 



Song Mode 
Display 



Pattern Mode 
Display 



J :100 M:0M/M BanOOI.1 
000 256 bar blank 



T 01 STOP Ln:01 Bar: 01.1 
009 1 Smooth 6 



The Preset button brings up the Preset/MIDI Channel selection screen 
shown below. This important screen allows you to change the Preset, 
Volume and Pan position for all 32 MIDI channels. The Preset button does 
not change the Song or Pattern mode status and this screen can be edited 
while a Pattern or Song is playing back. 



Preset Select 
Screen 



C01 V127 P01r R:off User 
079 3 bts: Logic 



The Mix button brings up a graphic display of the volume settings for all 32 
MIDI channels. This is the same volume setting as in the Preset Select 
screen except that all 32 MIDI channels can be simultaneously viewed and 
edited. The Mix button does not change the Song or Pattern mode status 
and this screen can be edited while a Pattern or Song is playing back. 



Mix Screen 



CH VOLS 
01FU25 



► To View the Pan Settings for all 32 Channels 

1. Press the Home/Enter key (to move the cursor to "Home" position) and 
turn the data entry control clockwise from the Mix screen. 



32 E-MU Systems 



Basic Operations 
LED View Select Section 



Track/Channel +/- 
Buttons 



Data Entry Control 



Left/Right Cursor 
Buttons 



LED View 
Select Section 



x 



Selecting patterns using 
this method allows you to see 
the current and next pattern 
numbers. 



These very handy buttons, located to the left of the LCD, serve as a shortcut 
to increment or decrement the Track (in Pattern mode), the MIDI Channel 
(in Preset mode), Layer (in Preset Edit mode) or Step Numbers (in Arpeg- 
giator Edit mode). 



The data entry control is a stepped, variable control switch used to change 
parameter values. The wheel increments or decrements the current value 
one unit with each click. This control incorporates acceleration, which 
advances the value faster if the data entry control is turned quickly. 



These buttons move the cursor to the next parameter on the display. (The 
cursor is a little flashing line underneath one of the parameters in the 
display.) Press either cursor button until the cursor is underneath the 
desired parameter. The cursor buttons have an auto-repeat feature which 
advances the cursor when the button is held continuously. 

The cursor can be moved bidirectionally using the data entry control while 
either cursor select button is held down (for example, press and hold the 
right cursor button and turn the data entry control). 



The numeric LED display in the center of the Proteus 2500 can display: 
Tempo, Pattern Number, the current Bar/Beat, or the MIDI Channel. 
Repeatedly pressing the Select button cycles through the four modes. 





Select 






Edit 






[iliTili] 






eri 




o 




IU U U LI 




O Tempo 


O Pattern O Bar.Beat 


O Track/Channel 



Pressing the Edit button lights its associated LED and allows you to edit the 
displayed value using the data entry control. Pressing Edit again deactivates 
this mode. To select a new pattern, you must exit Edit mode for the new 
pattern to be selected. 

By pressing and holding the Edit button, and then turning the data entry 
control, the displayed parameter can be quickly edited without latching the 
Edit mode on. 



Proteus 2500 Operation Manual 33 



Basic Operations 
Sequencer Controls 



Sequencer 
Controls 



Stop Button 



Play Button 



Record Button 



\ 



While a pattern is 
playing, press and hold the Play 
button and press Record to 

jump into Grid Edit mode. 



Tap Tempo 



These buttons control the sequencer transport functions. 



□□□ °- □ 



Stop 



Play Record 



Tap 



Pressing the Stop button immediately stops any currently playing Pattern 
Sequence or Song Sequence. The sequence remains at its current location. 

Press the Play button to resume from the current location. 

Press the Stop button when the sequence is stopped to return to the 
beginning of the sequence (RTZ). Pressing the Stop button a third time 
reloads the initial setup information for the Pattern or Song. 



The Play button engages the transport, regardless of sequencer mode 
(except in step edit). The LED in the button will be illuminated when the 
sequence is running. 

Pressing Play while in Record mode puts the sequencer into Pause mode. 
The sequencer stops and the Play LED flashes. Pressing Play again resumes 
Record mode. 



The Record button selects one of the three Pattern record modes or two 
Song record modes. 

Song Record modes (from Song mode) 

• One press Realtime record mode 

• Two presses Step record mode 

Pattern Record modes (from Pattern mode) 

• One press Realtime record mode 

• Two presses Grid record mode 

• Three presses Step record mode 

The LEDs to the right of the button indicate the record mode. After 
selecting a record mode, the Play button LED will be flashing. Press Play to 
begin recording. 

You can press Record at any time during recording or playback to go in and 
out of Realtime Record mode (i.e. Punch In & Out) 



The Tap Tempo button allows you to change the tempo at any time by 
tapping the button at the desired tempo. Three taps are initially required to 
change the tempo and then the tempo follows with each subsequent tap. 



34 E-MU Systems 



Basic Operations 
Edit Section 



Edit Section 



Song Edit Button 



Pattern Edit Button 



Preset Edit Button 



Clobal Button 



Controllers Button 



Edit 



oo □ 



Song Pattern Preset 



En 

Global 


Controllers 


En 

Arp 


En 

MIDI 


m 


m 


En 


En 



Audition Compare Save/Copy Home/Enter 



The Song Edit menu allows you to name and edit songs. An illuminated 
LED in the button indicates that you are in Song Edit mode. For more infor- 
mation about Songs and Song mode, see page 92. When pressed in combi- 
nation with the Pattern Edit button, Song Edit puts the Proteus 2500 in 
Demo mode. 



The Pattern Edit menu allows you to name and edit patterns. An illumi- 
nated LED in the button indicates that you are in Pattern Edit mode. For 
more information about Patterns and Pattern Editing, see page 52. When 
pressed in combination with the Song Edit button, this button puts Proteus 
2500 in Demo mode. 



The Preset Edit menu allows you to create and edit presets. An illuminated 
LED in the button indicates that you are in Preset Edit mode. For more 
information about the Preset Edit menu, see page 177. 



The Global menu contains parameters that affect the entire machine. An 
illuminated LED in the button indicates that you are in the Global menu. 
For more information about the Global menu, see page 123 



The Controllers menu contains parameters that are related to the front 
panel controller knob and button triggers. An illuminated LED in the 
button indicates that you are in the Controllers menu. For more infor- 
mation about the Controllers menu, see page 115. 



Proteus 2500 Operation Manual 35 



Basic Operations 
Edit Section 



Arpeggiator Button 



MIDI Button 



MIDI Panic Button 



Home/ Enter Button 



Save/Copy Button 



Compare Button 



Audition Button 



The Arpeggiator menu contains parameters that are related to the Master 
Arpeggiator such as creating and editing arpeggiator patterns. An illumi- 
nated LED in the button indicates that you are in the Arpeggiator menu. 
For more information about the Arpeggiator menu, see page 221 



The MIDI menu contains parameters that are MIDI related. An illuminated 
LED in the button indicates that you are in the MIDI menu. For more infor- 
mation about the MIDI menu, see page 137. 



Pressing the MIDI and Home/Enter buttons simultaneously sends a MIDI 
"All Notes Off" and "All Sound Off" for all 32 MIDI channels. 



The Home/Enter button is dual purpose. In general, this button acts as the 
"Home" button. For example, when in an Edit menu, this button snaps the 
cursor to the page name field of the current screen. When viewing the 
Preset Select screen, this button snaps the cursor to the preset number field. 
The flashing green LED of the Home/Enter button indicates that pressing 
the button will initiate a particular operation. 



The Save/Copy button is used to save changes to a pattern, song, preset, 
copy data between presets, randomize presets and to move other types of 
data. Selected groups of parameters, such as Patchcord settings, can be 
copied between Presets and/or between Layers using this menu. The menu 
is context-sensitive and will start at the appropriate save screen. See Save/ 
Copy on page 263 for more information. 

The LED in the button illuminates to indicate that you are in the Save/ 
Copy menu. The LED also illuminates when any preset parameter has been 
changed in the Edit menu (or if the front panel knobs have been moved 
with Quick-Edit mode enabled). 



The Compare button allows you to toggle between an edited version of a 
preset and the original, unedited version. When a preset has been edited, 
an asterisk appears in the preset name field and the Save/Copy LED flashes. 
Press the Compare button, lighting it's LED, to hear the unedited preset. 
Press the Compare button again to hear the edited preset. If edits are made 
to the preset while listening to the compared original version, compare 
mode is aborted and the compare LED goes off. 



When the Audition button is pressed, the LED next to the button will 
illuminate and a short "Riff" (programmed as part of the preset) will play. 
The Riff is latched on and plays continuously until the button is pressed 
again. Presets can be changed while Audition is latched on. See "Bank Select 
Commands" on page 174 for more information on selecting banks via MIDI. 



36 E-MU Systems 



Basic Operations 
Real-time Controller Knobs 



The top line of the Preset display changes to show the MIDI Bank Select 
controller values needed to select the preset being auditioned. This handy 
feature lets you know the exact Bank and Preset number. 



MSB 



LSB 



Preset # 



Bank 
072 3 



M5B:017 LSB:3 
sfx: Slicer 



2500 



Real-time 

Controller 

Knobs 



The Real-time Controller Knobs can serve several purposes. The first four 
functions are selected using the Controller Function Select button above 
the realtime control knobs. Preset Quick Edit can be enabled to use the 
knobs for editing in the Preset Edit menu. 

1. Quick Edit - Real-time control of internal synthesizer parameters and 
"Quick Editing" the initial settings of the real-time controllers 

2. Programmable Knobs - Real-time control of MIDI continuous 
controllers on external synthesizers 

3. Volume - Setting the volume of 16 channels. 

4. Pan - Setting the pan position of 16 channels. 



Controller Function Select 



O Quick Edit o Program o Volume oPan 



9 l/A^_^ O 2/B O 3/C O 4/D O 

I© © © © 

Filter Cutoff Filter Q Filter Attack Filter Decay 

1 5/ E ^^ _ O 6/F ^^ O 7/G r - [ _ O 8/H ,-j=fe- ° 

I© © © o 

Amp Attack Amp Decay Amp Sustain Amp Release 



9/1 O 10/J O 



Vel— Amp Vel— Filter 



I 

IO O 



11/K^^^ O 12/L O 



LF02 Amount LF02FIate 



'3/M^__ O 14/N O 



►3 Mod 1 



Mod 2 






Arp Velocity Arp Gate 



Proteus 2500 Operation Manual 37 



Basic Operations 
Real-time Controller Knobs 



Knob Functions 



\ 



Quick Edit knob 
movements can be recorded into 
the sequencer using realtime 
song or pattern record modes. 



Quick Edit mode 

The Real-time controller knobs provide direct control of the Proteus 2500's 
synthesizer parameters when the Controller Function Select is set to Quick 
Edit. 

There is an LED next to each of the control knobs which illuminates to 
indicate that the knob setting has been changed from the value 
programmed in the preset ("Knobs Preset Quick Edit" mode must be 
enabled in the Controllers menu). If the knob position is returned to the 
original setting, the LED is extinguished. 

Initial controller values can be stored in every preset. When you move a 
knob with Quick-Edit enabled, the Initial Controller Value is updated with 
the knob's new value. The knob's LED lights indicating that the preset value 
has been changed. The MIDI A-P values are stored in the corresponding 
Initial Controller Amount parameter in the Preset Edit menu (see "Initial 
Controller Amount" on page 215). The Save/Copy button LED flashes to 
remind you that the preset has been edited. "Quick-Edits" made to a preset 
are lost if you select another preset before saving them. 

The four rows of knobs always control the preset on the basic MIDI channel 
(the channel showing on the preset select screen), when the control switch 
is set to Quick Edit. 

The labels (Filter Cutoff, Filter Q Filter Attack, Filter Decay, etc.) printed on 
these rows show how the factory ROM presets are programmed to respond. 
(The controls may not exactly conform to the front panel labels depending on the 
preset.) You can change the way a preset responds to MIDI A-P messages 
from the Preset Edit menu (Patchcords). The knobs only generate a 
message when you move a knob to a new value. The current value jumps to 
the new value. 

► To Quick-Edit a Preset 

1. Select Quick Edit mode using the Controller Function Select button. 

2. Use the Control Knobs to change the sound of the current preset as 
desired. An asterisk (*) appears in the preset view display indicating that 
the preset has been modified. 

3. Press the Save/Copy button. You may have to turn the data entry 
control so that the display reads, "Save PRESET to." 

4. Press the right cursor button to select the bottom row. 

5. Optional: Select a new preset location if you don't want to overwrite 
the current preset, or if the current preset is a ROM preset. 

6. Press the Enter button to save the preset. 



38 E-MU Systems 



Basic Operations 
Real-time Controller Knobs 



X 



Turning a knob while in 
this screen automatically selects 
that knob for programming! 



Programmable Knobs mode 

If the "Programmable Knobs" parameter in the Controllers menu is set to 
"Ext," or "Both," the system sends MIDI controller messages when you turn 
the Controller knobs. Each knob can be programmed to send on any MIDI 
channel (01A-16B) and on any continuous controller number from 1-95. 
The knobs only generate a message when you move a knob to a new value. 
The Controller Knob LEDs always remain off in this mode. 

► To Program the Programmable Knobs 

1. Press the Controllers button. Its LED will illuminate. 

2. Turn the data entry control to select the Programmable Knobs screen. 



Knob# 



K1 PROGRRMMRBLE KNOBS 
Ctrl: 22 Ch:01R Ext 



cc# 



MIDI Chan 



Int/Ext/Both/Seq 



3. Use the left/right cursor controls to select the fields. 

4. Select the MIDI Continuous Controller number, the MIDI channel, and 
Internal/External or Both for each of the 16 knobs. 

5. Save the Multisetup if you want to save these settings. See page 125. 



Multichannel Volume Knobs 

In this mode, each of the 16 knobs will control MIDI Channel Volume for 
the like-numbered channel. This directly edits the value shown on the 
preset select screen and is equivalent to sending MIDI cc#7. 



CH VOLS 
01R:098 



View Mode must be set to "MIX" in order to see the display shown above. 

When "Knobs MIDI Out" in the MIDI menu is enabled, any knob change 
will send MIDI cc#7 to the MIDI out port as well as controlling the internal 
channel volume. 

In this mode, the LEDs next to the sixteen knobs blink to indicate MIDI 
activity on the same numbered MIDI channel (from the sequencer or 
external MIDI sources). 



Proteus 2500 Operation Manual 39 



Basic Operations 
Real-time Controller Knobs 



Multichannel Pan Knobs 

In this mode, each of the 16 knobs will control MIDI Channel Pan for the 
like-numbered channel.This directly edits the value shown on the preset 
select screen and is equivalent to sending MIDI cc#10. 



CH PRN5 
01R:56 R 



View Mode must be set to "MIX" in order to see the display shown above. 

When "Knobs MIDI Out" in the MIDI menu is enabled, any knob change 
will send MIDI cc#10 to the MIDI out port as well as controlling the 
internal channel volume. 

In this mode, the LEDs next to the sixteen knobs blink to indicate MIDI 
activity on the same numbered MIDI channel (from the sequencer or 
external MIDI sources). 



40 E-MU Systems 



Basic Operations 
Trigger Buttons 



Trigger 
Buttons 



x 



Trigger button 
presses can be recorded into 
patterns and songs. 



Trigger Mode 



Preset Menu 
Jump Keys 



The trigger button section serves multiple purposes which are listed below. 

• Assignable & latchable note triggers. See page 119. 

• Sequencer track select buttons See page 22 and page 52. 

• Sequencer grid edit entry keys. See page 61. 

• Preset Edit menu jump keys. See below. 

Mode Switch 



n 



O Track Enable/Mute 

O J] 16™ O^ 32"° 

2 3 4 



O Triggers 

O J) 8 th Tplt O h 16™ Tplt 
5 6 7 




Name/ Ranges Tuning Amp Chorus/ Solo/ Filter Aux 

Instrument Delay Glide 



10 



12 



13 



14 



15 



16 




LFO's Bend/ Cords Initial fx Links Arp/Riff Layer Solo 

Output Controllers 



The mode switch is normally used to select between Triggers and Track 
Select/Mute. In Sequencer Grid Edit, the mode switch is used to select step 
resolution. 



Select Triggers mode by pressing the mode select button so that the 
"Triggers" LED is illuminated. Now the 16 buttons work like keyboard 
notes. Each of the 16 buttons can be assigned to any MIDI note, on any 
MIDI Channel (01A-16B), with any velocity (0-127), and can be set to be 
latched or momentarily on. Latched note will hold until the button is 
pressed again. Latched notes will be indicated by the LEDs. Trigger keys are 
assigned from the Controllers menu. See page 119 for more information. 



Whenever you are in the Preset Edit menu, the sixteen command buttons 
function as "jump" buttons to the various screens in the Preset Edit menu. 
The jump location is labelled directly below each button. 

Pressing a jump button instantly takes you to the first screen in the selected 
category. Pressing the button again takes you to the second screen in the 
category and so on. Repeated pressing will rotate you back to the first 
screen in the category. 



Proteus 2500 Operation Manual 41 



Basic Operations 
Trigger Buttons 



Knob Bypass, 
Glide, Erase & 
Repeat 

Knob Bypass 



Glide Button 



Erase Button 



Repeat Button 



When this button is pressed and its LED illuminated, the front panel knobs 
are disabled. This unusual feature allows you to pre-set the knobs to a 
certain position in preparation for a performance effect such as a pitch or 
filter sweep. Without this feature, the knob might be in a inappropriate 
position and suddenly jump to the current value when the knob is 
touched, ruining your intended effect. 



This button turns Glide (portamento) on or off for the current preset. The 
LED in the button illuminates when Glide is on. See Glide on page 195. 



When this button is latched on (LED illuminated) while recording a 
pattern, any note played on the keyboard will remove that note from the 
pattern as long as the keyboard key is held down. This allows you to 
quickly removed any "flubbed" notes without having to enter Pattern Edit 
mode. 

In Grid record mode, pressing the Erase button while the cursor is on one of 
the grid locations, removes the note from that location. 

In Song step record mode, pressing the Erase button erases the currently 
selected step from the song. 



When this button is latched on (LED illuminated) while recording a 
pattern, played notes will repeat at the current pattern quantize setting 
(page 53). You can get some great effects with this feature by simulta- 
neously changing the volume or pitch as the sound repeats. 

In Song step edit mode, the Repeat button functions as a "Pattern Insert" 
button. See page 93 for more information. 



42 E-MU Systems 



Basic Operations 
Preset Screen 



Preset Screen 



MIDI Channel 
Selection 



Preset Selection 



Bank Contents 

0-128 RAM Presets 
; 1 - 128 RAM Presets 
] 2 - 128 RAM Presets 

3-128 RAM Presets 

■ - 1 28 ROM Presets 
: 1 - 1 28 ROM Presets 
: 2 - 1 28 ROM Presets 

?? Depending on 
ROM sets installed 



^O An asterisk * in the 
preset view screen indicates 
that the preset has been 
modified. 

(Change the preset without 
saving to remove the 
asterisk.) 



The Preset Select screen is accessed by pressing the Preset View button 
located directly under the LCD. From this screen you can examine or 
change the Preset, Volume, Pan Position and Preset Location for each of the 
32 MIDI channels. 



COIR V127 POIr R:off User 
079 3 kit: Hide & Seek 



► To Change the MIDI Channel 

1. Press the Preset View button to display the Preset Select screen. 

2. Press the Track/Channel inc/dec buttons located to the left of the liquid 
crystal display to select channels 01 A through 16B. The preset, volume 
and pan settings for each channel will be displayed as you scroll 
through the channels. 

The channel number shown in the main screen is the "basic MIDI channel" 
when in Omni or Poly modes. 



► To Change the Preset 

1 . Press the Preset View button to display the Preset Select screen. 

2. Press either cursor key until the cursor is underneath the preset 
number. (The cursor is a little flashing line underneath one of the 
parameters in the display.) As you rotate the data entry control, the 
preset number and name changes. 

3. The displayed preset is assigned to the displayed MIDI channel. Presets 
are arranged into banks of 128, as shown in the diagram at left. 

Bank Number 



Preset 
Number 




Indicates that the 
preset was modified 

Using the screen above as an example, the superscripted number 2 in the 
second line of the display identifies the current bank number. 

• Select banks independently of the of the preset number by locating the 
cursor on the Bank field and turning the data entry control. 



Proteus 2500 Operation Manual 43 



Basic Operations 
Preset Screen 



Channel Volume 



MIDI BANK SELECT 




MSB 


LSB 






ccOO 


cc32 




USER 


00 


00 


BankO 


USER 


00 


01 


Bank 1 


USER 


00 


02 


Bank 2 


USER 


00 


03 


Bank 3 


P2500 


17 


00 


BankO 


P2500 


17 


01 


Bank 1 


P2500 


17 


02 


Bank 2 


P2500 


17 


03 


Bank 3 



This chart shows the MSB and LSB numbers needed to select preset banks over MIDI. 
Select a bank, then send the program change number. Without a bank select command, 
presets are selected from within the current bank. 



Channel Volume sets the volume of the selected MIDI channel in relation 
to the other channels. This is the same parameter as MIDI volume control 
#7, and changes made over MIDI are shown in the display. 



Volume 





\ 






cm 


V127 P01r 


R:off 


User 


079 3 


bts: Logic 







► To Change the Channel Volume 

1 . Press the Preset View button to display the Preset Select screen. 

2. Press either cursor key until the cursor is underneath the volume value. 

3. Rotate the data entry control to select a volume level. The Channel 
Volume range is 000-127. 



44 E-MU Systems 



Basic Operations 
Preset Screen 



Channel Pan 



Channel Arpeggiator 



Channel Pan sets the stereo position of the selected MIDI channel. This 
control operates like the balance control on your home stereo system. 
Channel Pan is the same parameter as MIDI pan controller #10, and 
changes made over MIDI are shown in the display. 



Pan Position 



X 



C01 V127 POIr R:off User 



079 ; 



bts: Logic 



Note: Pan settings in the preset ADD algebraically with the Channel Pan 
setting. Therefore, if the pan setting in the preset were set to "63r," moving 
the Channel Pan setting full left would return the sound to the center 
position. 



► To Change the Channel Pan 

1 . Press the Preset View button to display the Preset Select screen. 

2. Press either cursor key until the cursor is underneath the pan field. 

3. Rotate the data entry control to select a pan value. 64l indicates a hard 
left pan, 63r indicates a hard right pan. With a setting of "00," the 
sound is centered in the stereo field. 



This function controls the arpeggiator for each MIDI channel. When the 
channel arpeggiator mode is set to Off, then there is no arpeggiation on 
that channel, regardless of what is set up in the Master Arpeggiator or 
preset. If the channel arpeggiator is On, the preset's arpeggiator is used, 
regardless of whether or not it is turned on in the Preset Edit menu. This 
lets you turn on arpeggiation from the main screen. 

If the mode is set to "P" (for preset), the preset's arpeggiator settings and 
on/off status is used. If the mode is set to "M" (for master), the master 
arpeggiator settings and on/off status (located in the Arp menu) are used. 
See the '' 'Arpeggiator -/Beats Menu" on page 221 for more information. 

► To Play the Arpeggiator (Quick Start) 

1. From the Preset View screen, press either cursor key repeatedly until 
the cursor is underneath the arpeggiator field (A:). 

2. Rotate the data entry control to select "P" for preset. 

3. Press either cursor key repeatedly until the cursor is underneath the 
Preset Category field and select "arp:" using the data entry control. 

4. Press the right cursor button to move it to the Preset Name field. 

5. Play notes or chords on the keyboard. Change presets as desired to 
audition the various patterns and presets. 



Proteus 2500 Operation Manual 45 



Basic Operations 
Sound Navigator 



Sound 
Navigator 



Preset Category 



Instrument Category 



Sound Navigator allows you to search through preset and instrument 
categories to find the type of sound you're looking for. Each preset and 
instrument has a name and a three letter preset category You can create 
your own categories in order to group favorite presets. The preset category 
is assigned in the Preset Edit menu (Preset Name). Instrument categories are 
fixed. 



When you want to find presets in a particular category you simply change 
the category field in the Preset View screen, then move the cursor to the 
preset name field to scroll through all the presets in the selected category. 

When the cursor is on the Preset Category field, turning the data entry 
control selects different preset categories. The Name Field will change to 
show the first preset in each category. 



C01 V127 POO R:off User 
06M 1 w al: Raverotic 



7* 



^ 



Preset Category 



Preset Name 



► To Change the Preset Category 

1. From the Preset View screen (shown above), press either cursor key 
repeatedly until the cursor is underneath the preset category field. 

2. Rotate the data entry control to select one of the preset categories. 
Preset Categories are displayed in alphabetical order. 

► To Select a Preset within a Category 

1 . After selecting a category, move the cursor to the Preset Name field. 

2. Rotate the data entry control to scroll through the presets in the 
selected category. Note that the preset numbers will no longer change 
sequentially. 



When the cursor is on the Instrument Category field (Preset Edit menu), 
turning the data entry control selects different instrument categories. The 
Name Field changes to show the first instrument in each category. Move 
the cursor back to the instrument name to choose other instruments in the 
selected category. 



L1 INSTRUMENT R0M:2500 

06M 1 uual: Raverotic 



46 E-MU Systems 



Sequencer 



<5>& 

Warning: Sequencer 
Patterns and Songs are NOT 
saved until you save them in the 
Save/Copy menu. 

An asterisk (*) appears in the 
Pattern or Song display to 
indicate that the item needs to 
be saved. The Save/Copy button 
LED will also be flashing to 
remind you. 



The Proteus 2500 Sequencer is an extremely powerful, yet easy to use MIDI 
recording device. Several different methods of creating and editing 
sequences are provided to suit your personal style of composition. 

► To Enable the Sequencer 

Proteus 2500 always powers up in pattern mode. Pattern mode can be 
selected from any other screen by pressing the Pattern mode button below 
the LCD. 

A Pattern can be immediately started by pressing the Play button. Press the 
Song mode button to select Song mode. 

► To Select a Song or Pattern 

With the Proteus 2500 in Song mode and the cursor in the Home position, 
turn the data entry control to select a new song. 

With the Proteus 2500 in Pattern mode and the cursor in the Home 
position, turn the data entry control to select a new pattern. 

► To Edit a Pattern 

Select the pattern you wish to edit, then press the Pattern Edit button. Turn 
the data entry control to scroll through the Pattern Edit menu items. 
See page 68. 

► To Edit a Song 

Select the song you wish to edit, then press the Song Edit button. Turn the 
data entry control to scroll through the song edit menus. See page 97. 



Proteus 2500 Operation Manual 47 



Sequencer 
Overview 



Overview 



Definitions 



Events 



Tracks 



Patterns 



Important: Pattern 
Setup information is saved as it 
was set at the moment you 
saved the pattern. 



Proteus 2500's sequencer is a Song/Pattern based recorder featuring high 
resolution recording at 384 ticks per beat. Multiple record modes - Song, 
Pattern, Grid, Step & Realtime Record allow you ultimate flexibility in the 
way you compose you music. You can add, monitor and modify parts on 
the fly or switch recording modes without stopping. The sequencer features 
16 tracks, each of which can record up to 16 channels. Automated mixing 
and synth control is a snap. Now discover just how easy recording can be. 



The various components of Proteus 2500 sequences are described below, 
starting from the smallest units "events" and ending with the largest 
element, a "song". Songs can be up to 999 bars in length. 

Events are the smallest bits of information that are recorded into a 
sequencer. Note-on, note-off, continuous controller messages, MIDI clocks, 
and program change commands are all events. 

Tracks are groups of events that will be assigned to a specific MIDI channel 
for playback. A single track can be assigned to one or two MIDI channels 
(one normal, one aux). A track can play internally only, externally only, 
both internally and externally, or not assigned at all. See page 84. 

Tracks may also contain information encoded on multiple MIDI channels. 
Proteus 2500 can assign these multichannel events to play on their 
assigned MIDI channels or it can force them all to a new assigned channel. 
See page 84. 

Individual tracks can be muted on playback. The sequencer supports 16 
tracks (Tl - T16). 

Patterns are collections of tracks and are the basic unit of storage for 
sequences. You cannot save a track unless it is part of a pattern. 

Patterns can be up to 32 bars in length. After playing to the end of its 
specified length, a pattern will loop back to the start. Looping repeats 
indefinitely as long as the sequencer is running. 

Patterns store the following information in non-volatile Flash memory 
which is recalled just before the pattern is played. 

• Pattern Name & Number 

• Track Events 

• Initial Tempo & Meter 

• Master FX setup 

• Track to MIDI Channel mapping.... 

• Track Mutes 

• Bank/Program changes 

• Volume & Pan settings 

• Mix Output setup 

• Arp Status (off, on, preset, master).. 



These parameters are 
stored for each track 
used in the pattern. 



48 E-MU Systems 



Sequencer 
Definitions 



Press Once 



"\ 



Play Record 



G Realtime 
O Grid 
O Step 



Press Twice. 



Play Record 



O Realtime 
O Grid 
O Step 



Press 3 Times 



\ 



Play Record 



O Realtime 
O Grid 
G Step 



Asterisk 


No 


Appears 


Asterisk 


Pressing Rec 


Changing: 


List Edit 


tempo, 


(press enter) 


meter, 
length, 


Executing 


name, chan. 


an Edit 


asssign, etc. 


function 





X 



Use the "Revert to 
Saved Pattern" feature to 
remove the asterisk and discard 
your pattern edits. See page 91 
for more information. 



Pattern Recording & Editing 

Patterns can be edited in three ways: 

• Realtime Record - Events are stored in the designated track as they are 
played on the keypad or from the MIDI input port. Events are over- 
dubbed into the track as the track plays and loops. The original channel 
of each event is maintained when recorded. 

Individual events can be erased by pressing the realtime erase button 
and re-playing the event during the time that the event occurs in the 
pattern. 

• Grid Editing - In this mode, the sixteen trigger buttons become a time 
grid. A note event is first selected and is then placed at any time location 
by pressing the appropriate grid button. 

The grid resolution can be changed to allow a whole measure or a frac- 
tion of a measure to be displayed on the button grid. 

• Step Edit - In this mode, you can single-step through the time locations 
(bars, beats, & ticks) and place events anywhere you want. 

The play button jumps from the current location to the next note value 
as determined by the resolution setting. 



The Asterisk 

When a pattern (or song) has been edited and needs to be saved an asterisk 
(*) appears in the display. The Save/Copy LED will also be flashing as a 
reminder to save your work. The asterisk and your edits remain in the 
single edit buffer even if you change patterns. Edits are only erased by 
saving the pattern, editing another pattern, invoking the "Revert To Saved" 
feature, or turning the unit off. Saving saves the current pattern and NOT 
the edit buffer. 





T 01 STOP Ln: 08 
000° Start of IT 


Bar: 01 . 1 
* 


1 ^ 1 



Indicates that the Pattern 
needs to be saved. 



Standard MIDI Files 

Patterns can also be imported from a Standard MIDI File (SMF) dump. SMF 
type files are imported with MIDI channels 1-16 going to the same 
numbered Proteus 2500 track. SMF type 1 files are imported with tracks 1- 
16 going to the same numbered Proteus 2500 track. Tracks 17 and above 
will not be imported into Proteus 2500. 



Proteus 2500 Operation Manual 49 



Sequencer 
Definitions 



Songs 



Press Once 



ETEJ3 



Stop Play Record 



Press Twice 



EXXl 

Stop Play Record 



b Realtime 
O Grid 
O Step 



O Realtime 
O Grid 
O Step 



Sfc 



The 7 6 traces of o song 
can be assigned to either the A 
or B channels using the "Song 
Channel Assign " function on 
page 108. 



Songs are recorded on a single track which allows you to record Pattern Play 
messages as well as real-time note and controller information. This lets you 
link previously recorded patterns together to form more intricate arrange- 
ments, then overdub controller information such as volume, pan or other 
controller information or additional note information. You can change 
pattern length and track mutes in song mode without affecting your stored 
patterns. 

Song mode is also useful when you wish to record, playback or import a 
sequence longer than 32 bars. For example, you could import a long multi- 
channel sequence created on another sequencer as an Proteus 2500song. 



... as set 

when the 

Song was 

saved 



tempo 

preset 

volume 

pan 

mix 

arp 

FX 


The Song Track 

Controller Note Note 
data data data 




r 




JJJ 




m^ 


Pattern 03 2\ \ \Pattern 002\ J — "I \Pattern 204\ 



Note Pattern Pattern Pattern 

data play/mutes play/mutes play/mutes 

The Song Track contains Pattern Play events as well as real-time data (note-on/off, continuous 

controllers and other MIDI data). 

Song Record Modes 

• Realtime Record - Events are stored as they are played on the keypad, 
controllers or from the MIDI input port as the single realtime track 
plays. The original channel of each event is maintained when recorded. 

• Step Edit - In this mode, you can single-step through the bar locations 
and place Pattern Inserts wherever you want. 

Songs store the following information in non-volatile Flash memory: 

• Song Name & Number 

• Realtime note & controller information 

• Track Mutes for each Pattern Play event (these can be different than the 
mutes stored in each Pattern.) 

The following events are also saved as they were set when the Song was 
saved. The "Event Source" option in the Song Edit menu (page 97) deter- 
mines whether song or pattern events will be used in the song. 

• Initial Tempo 

• Master FX setup 

• Event Source 

• Volume 

• Pan 

• Mix Output setup 

• Arp channel status (off/on/preset/master) 



h 



These parameters are 
stored for each channel 
used in the song. 



50 E-MU Systems 



Sequencer 
Event Timing 



Event Timing 



The following information is intended for advanced users. If you are just 
getting started with Proteus 2500 you can skip this section for now. 

Songs and patterns both contain pre-sequence setup information that is 
loaded just before a song or sequence plays. This pre-sequence information 
is not reloaded when a pattern loops. Reloading this setup information 
each time a pattern looped would cause data clogging and possible timing 
errors in the sequence. 

• The first two ticks (0 & 1) are reserved for pre-sequence setup informa- 
tion. Tick is reserved for the internal pre-sequence setup information. 
Tick 1 is used to place your own pre-sequence setup information so 
that it won't loop and cause timing errors. 

• Events (controller data, program changes, sysex, etc.) are played before 
Notes, even if they are located on the same numbered Tick. This is done 
so that volume changes and other programming information will be in 
place when the notes turn on. 

When a track is set to "ext" (external transmit only), you will be allowed 
to see the tick spot for EVENTS. This allows you to remove any pre- 
sequence setup data (which is stored at Tick 0) left over from when the 
track may have been internal or both. 



Events 





tickO 






tick 1 








tickO 






tick 1 


Q. 


tick 2 




O 
O 

_l 




tick 2 




tick 3 




> 


' 


tick 3 



w 



Notes 



Pattern/Song Setup Info Pre-Sequence 
Reserved for User Events Setup Info 



This chart shows how notes and other MIDI events are recorded at the beginning of a 
pattern or song. 

Notes are played after other MIDI events. Ticks and 1 are reserved for pre-sequence 
setup information which does not loop. Beginning at tick 2 of the pattern or song, 
information is recorded normally (events first, then notes). 

Track Priority 

The Proteus 2500 sequencer handles lower numbered tracks first. Therefore, 
you should put your most timing-critical data on low numbered tracks. 
Normally this will not be important since the sequencer timing is so good, 
but if you create very dense sequences, this information might be useful. 



Proteus 2500 Operation Manual 51 



Sequencer 
Pattern Mode 



Pattern Mode 



Pattern Play 



% 



L.E.D. Beat Markers 

• The Tap Tempo LED stays on 
slightly longer at each bar. 

• The Tap Tempo LED flashes to 
mark each quarter note. 



Pattern mode is selected by pressing the Pattern mode button beneath the 
liquid crystal display The screen shown below is displayed in Pattern mode 
when the sequencer is stopped. 



T 01 STOP Ln: 08 
000° Start of IT 



Bar: 01 . 1 



□ 



Play 



Pressing Play in Pattern mode causes the selected pattern to 
continuously play and loop. The display changes as shown. 



T 01 STOP Ln:08 Bar:01 .1 
CurPat: 002° NextPat: 002° 



The Track Mute buttons can be used to select specific tracks for playback. 
The track mute settings are saved when the pattern is saved and restored 
when the pattern is run. 




9 


10 


11 


12 


13 


14 


15 


16 


aOOF ITEEl 



□ 



Stop 



Pressing the Stop button stops the pattern immediately. Pressing 
Stop again rewinds the pattern to the beginning (RTZ). 

Pressing the Stop button a third time reloads the initial setup 
information for the Pattern (or Song). 



To select another pattern while one is already playing: Turn the data 
entry control in Pattern Mode/View. The lower line of the display changes 
to show the name and number of the pattern you have selected. The 
Home/Enter LED will be flashing. 



T 01 STOP Ln:08 
015° Club Luv 



Bar:01 .1 



52 E-MU Systems 



Sequencer 
Pattern Mode 



Realtime Recording 



Preparing to Record 
a Pattern 



Input Quantize 



Press Enter to jump to the new pattern when the current pattern ends. The 
lower line of the display now again shows the current and next pattern 
numbers. 



T 01 STOP Ln:08 Bar:01 .1 
CurPat: 002° NextPat: 022° 



To start a new pattern immediately, press Stop, select the new pattern 

and press Play. 

or. . . To select a pattern while playing, press Enter, press Stop, then Play. 

As described on page 49, there are three ways to record patterns. Realtime 
recording is the easiest way to begin recording. Notes and Controller events 
are recorded into a pattern. External MIDI data can also be recorded. 

Before you record a pattern there are a few things you'll want to set up. 
Most of these steps apply to realtime or step recording. 

• Erasing the pattern (if necessary). 

• Program the Metronome (if necessary). Page 70. 

• Define the pattern's Time Signature and Pattern Length. Page 56. 

• Setting the Count-in length (if necessary). Page 55. 

• Setting Input Quantize (to correct timing errors in Realtime Recording, 
to set the step rate in Step Recording, or to set the repeat rate when using 
the front panel Repeat button). Page 53. 

Select the desired Channel, Track and Preset for recording. 

Input quantize corrects your timing and places notes exactly on the note 
value of your choice. You can choose any of the following note values: 
quarter notes, quarter note triplets, eighth notes, eighth note triplets, 
sixteenth notes, sixteenth note triplets, thirty second notes, or thirty 
second note triplets. 

The illustration below shows one measure of 4/4 music (there are four 
quarter notes, 8 eighth notes, and 16 sixteenth notes in a measure of 4/4). 



X 



J 




J 




J 




J 


J* 


-h 


.r 


$ 


■h 


-h 


■h 



> 



V. 



rm rm rm rm _v 




Proteus 2500 Operation Manual 53 



Sequencer 
Pattern Mode 



Suppose you wanted to record a bass drum beat on every quarter note. The 
upper row of dots in the diagram below shows where you might have 
played the four drum beats. The lower row of dots shows what happens 
when Input Quantize is set to eighth note resolution. Each beat is now 
moved to the nearest eighth note. 



i-i-i 1 1 i r 

Eighth Note Input Quantize 



What you play 
Beats fall on 



In the next example we'll set Input Quantize to sixteenth note resolution. 
In this example the beats you played have been assigned to the nearest 
sixteenth note, which works on beats 3 & 4, but not on 1 & 2. 



LLLIX 



What you play 
Beats fall on 



Sixteenth Note Input Quantize 



This brings up an important point. 

Use the Lowest Quantization value needed. 

If you're recording a simple snare backbeat, there's no point in using higher 
quantization than eighth notes. To record something more complex, use a 
finer resolution such as sixteenth or thirty-second notes. 

You can change the Input Quantize setting in Pattern mode whether the 
Proteus 2500 is running or stopped, recording or not. You can also use 
different resolutions on the same part. Use low resolution to record most of 
the part, then switch to a finer resolution to add complexity. 

Recording triplets is easy since there are four triplet modes (l/4t, l/8t, l/16t 
and l/32t). You can also switch between triplet and non-triplet modes to 
record complex polyrhythms. 

When Input Quantize is turned Off, you are recording in Proteus 2500's 
high resolution mode in which beats can be placed on any one of 384 ticks 
per measure. High resolution recording is great if you're a good player and 
want your performance captured as accurately as possible. 



54 E-MU Systems 



Count In 



Sequencer 
Pattern Mode 



► To Set Input Quantize: 

Input Quantize only works in Pattern mode. 

1. Choose Pattern mode and select a Pattern. 

2. Go into Record mode by pressing the Record button. The Pattern 
Record screen shown below appears. 



T 01 REC 


Ln: 08 Bar: 01. 1 


Quan: 8 


Met: on Cnt: 



Note 
Value 



3. Choose the desired Input Quantize value using the data entry control. 

4. Press Play to begin recording. 

The Count-in feature lets you hear the metronome for either one or two 
measures before recording begins. This helps you get the feel of the beat 
before you actually begin recording. 

► To set Count-in: 

1. Choose Pattern mode and select a Pattern. 

2. Go into Record mode by pressing the Record button. The Pattern 



Record screen shown below appears. 



T 01 REC Ln: 08 Bar: 01. 1 
Quan: 8 Met: rec Cntln: 



Metronome 



Count-in 



3. Move the cursor underneath the Count-in (Cnt) field using cursor keys. 

4. Select 0, 1, or 2 bars of count-in using the data entry control. 

5. Press Play to begin recording. 



Proteus 2500 Operation Manual 55 



Sequencer 
Pattern Mode 



Pattern Length 



Metronome 



Recording a Pattern 



>0 For these instructions, 
make sure Keyboard /Knob 
Channel in the Controllers menu 
is set to "Basic Channel". 



You can set the length of a pattern from 1 to 32 bars, either before, after or 
even during recording. 

► To Set the Pattern Length from the Main Pattern Screen: 

1 . Select the pattern in Pattern mode. 

2. Move the cursor to the Length (Ln) field using the cursor keys. 



T 01 STOP Ln: 02 
000° Start of IT 



Bar: 01 . 1 



3. Set the Length of the pattern using the data entry control. 

The metronome is a timing aid when recording or playing back patterns 
which produces an accented click on the first beat of each measure and a 
softer click on other beats. This setting is NOT saved with the pattern. 

► To Set the Metronome:. 

1. Go into Record mode by pressing the Record button. 

2. Scroll to the Metronome screen using the data entry control. 

3. Move the cursor underneath the Metronome field and set it to On, Off 
or Rec using the data entry control. Set to On, the metronome plays 
during recording and playback. Set to Rec, the metronome only plays 
while recording. 

4. The metronome value is set in the Pattern Edit menu. See page 70. 

► To Record a new Pattern: 

1. Press the Pattern mode button. The screen shown below appears. 



T 01 STOP Ln: 08 
000° Start of IT 



Bar: 01. 1 



2. Select a Blank pattern to begin recording using the data entry control. 

3. Press the Record button. The screen shown below appears. 

Track Number Pattern Length Current Position 



T 01 REC Ln: 08 Bar: 01. 1 
Quan: 8 Met: on Cnt: 



:s: 



Auto-Correct 



Metronome on/off 



Count-in Bars 



56 E-MU Systems 



Sequencer 
Pattern Mode 



X 



You can go in and out of 
Record mode at any time by 
pressing the Record button 



\ 



To Erase an Entire 
Pattern: Copy an "Empty 
Sequence" over the pattern. 
(Save/Copy menu). 



4. Set the Pattern Length and Input Quantize value. For more infor- 
mation on Input Quantize see page 53. 

5. Set the number of count-in bars if you wish. 

6. Select a Track number. The default value is Track one. This is fine for 
the first track. 

7. Press the Preset View button. The preset screen shown below appears. 



COIR 
050 3 



V127 POO R:P 
kit:80's Tones 



User 



8. Select a Preset for your first track. 

9. Press the Preset View button again after you've selected a preset. The 
LED will go out and you'll be returned to the Pattern screen. 

Get ready to record the first track! 

10. Press Play to begin recording. Recording will begin after the count -in 
period (if any). The pattern will loop when it reaches the end of its 
length. 

11. Press Stop when you're finished recording. 

Are you happy with your performance? If not, you can erase the track and 
try again. 

To Erase the Track: 

12. Press the Pattern Edit button and turn the data entry control until you 
find the "Cut Track to Clipboard" screen. 

13. Move the cursor to the lower line of the display under Track 1. 

14. Press the flashing Enter button to erase the track. 

15. Press the Pattern Edit button again to exit the menu, then go back to 
step 10 and re-record the track. 

To Erase Specific Notes: 

16. Press the Erase button in Realtime Record mode and hold down the 
keyboard note you wish to erase. The note will be erased when it 
comes around in the pattern. 

To Record another Track: 



17. 



18. 



19. 



Press the +Track button located to the left of the LCD. The track 
number increments to Track 02. 

Press the Preset View button. Notice that the MIDI channel has also 
incremented to C02A. Select a preset. 

Press the Preset View button again after you've selected a preset. You'll 
be returned to the Pattern screen. 



Proteus 2500 Operation Manual 57 



Sequencer 
Pattern Mode 



X 



The Event Source 
parameter (page 97) controls 
how pattern settings are used in 
Song mode. 



&6 

Too much controller 
information can clog the 
sequencer causing sluggish 
performance and sloppy timing. 
Use the "Thin Events" function 
(page 74) to reduce the amount 
of controller data in the pattern. 



20. Press the Stop button to return the beginning of the pattern. 

21. Press Record, then Play to begin recording on track 2. 

22. After recording track 2, check out the Track Enable buttons to mute 
and un-mute the tracks. 

23. A pattern must be SAVED or it will be erased when you change the 
pattern. See "Save Pattern" on page 263. 

You can continue to add up to 16 tracks. If you need more than this, 
keep in mind that you can add up to 16 channels of data to each track! 
Normally, it's simpler to use just one channel per track. 

• To setup a track for multichannel playback see "Channel Assign" on 
page 84. 

► Saving Patterns 

When you save a pattern (page 263), the following settings are also saved 
(as set at the moment you saved). These setting are restored just before 
pattern playback. 

• Tempo & Meter 

• Master FX setup (See page 130) 

• Track to MIDI Channel mapping (See page 84) 

• Track Mutes 

• Bank/Program changes 

• Initial Volume & Pan settings 

• Mix Output setup (See page 128) 

• Arp Status (off, on, preset, master) 



These parameters 
are stored for each 
track used in the 
pattern. 



► To Record Realtime Controller Data 

You can mix and embellish your patterns by recording continuous 
controllers along with note data. 

1 . Start by recording and saving a pattern. 

Recording Quick Edits 

The Quick Edit knobs are only active on the Basic Channel (the channel 
currently displayed in the Preset View screen). 

2. Select Quick Edit mode by pressing the Controller Function Select 
button. 

3. Select the channel with the preset you wish to Quick Edit. 

4. Practice your knob movements before recording by Playing the 
pattern and twisting the knobs. 

5. When you're ready to record, press Record while the sequencer is 
playing (to punch-in), then perform the knob movements. 



58 E-MU Systems 



Sequencer 
Pattern Mode 



X) Use the "Erase cc# 
Events" function (page 75) to 
erase controller data from the 
pattern. 



Record Multitrack Volume and Pan Information 

You can record Volume and Pan information for all 16 channels simulta- 
neously by using Volume Knob mode. You'll be recording multichannel 
volume or pan data onto a track. The default channel assignment will 
rechannelize this data to a single channel. You must change this. 

6. Select a track for the Realtime Controller data. 

7. Press the Pattern Edit button and scroll to the "Channel Assign" page. 

8. Set the track to MultiA. Now the track will record multichannel data. 

9. Press the Pattern Edit button to exit the menu. 

Automating the Volume of each Channel 

10. Select Volume knob mode by repeatedly pressing the Controller 
Function Select button (page 37). 

Select Mix View mode if you wish to view the volume settings. 

Press the Stop button twice to make sure the pattern starts at the 
beginning. 

Press the Record button in Pattern mode to get ready to realtime 
record. The Play button LED will be flashing. 

Press the Play button to begin recording. The controller knobs now 
adjust the volumes of all 16 channels. 

Press Stop when you're finished recording. 



11. 

12. 
13. 
14. 
15. 



Real-time Panning 

16. Select Pan Knob mode by pressing the Controller Function Select 
button. 

17. Select Mix View mode by pressing the Mix button (if it's not already 
selected). 

18. Turn the data entry control clockwise to select Ch Pan view. 

19. Press the Stop button twice to make sure the pattern starts at the 
beginning. 

20. Press the Record button in Pattern mode to get ready to record. The 
Play button LED will be flashing. 

21. Press the Play button to begin recording. The controller knobs now 
adjust the pan positions of all 16 tracks. 

22. Press Stop when you're finished recording. 



Proteus 2500 Operation Manual 59 



Sequencer 
Pattern Mode 



► Erasing Controller Data 

1. The Erase Events function (page 75) can be used to erase controller 
data from a pattern. 

2. Find the realtime controller number of the knob you wish to erase in 
the Controllers menu. 

(Volume is always cc#7, and Pan is always cc#10. The numbers of the 16 
controller knobs can vary.) 

3. Press the Pattern Edit button. 

4. Scroll to Erase Events and move the cursor to the lower line of the 
display. 

5. Select the realtime controller number from step 2. 

6. Press Enter to erase the controller data. 



► Using Realtime Repeat 

When this button is latched on (LED illuminated) while recording a pattern 
(or song), played notes will repeat at the current pattern quantize setting 
(page 53). You can get some great effects with this feature by simulta- 
neously changing the volume or pitch as the sound repeats. 

1. Press the Record button once to go into Realtime Record mode. 

2. Set the Input Quantize resolution on the LCD to the desired rate. 

3. Press the Repeat button illuminating the LED. 

4. Press Play to begin recording. 

5. Play the Keypads (or keyboard). Notes now repeat according the Input 
Quantize setting. 

• You can change the Input Quantize setting at any time while recording. 

Automatic Channel Assignment 

Whenever you change a channel, the sequencer looks for a track that is 
assigned to that channel. This feature automatically selects the proper track 
in most cases, freeing you from having to think about it. 

For your information, the algorithm works as follows: 

1. If the current track is already assigned to this channel, or if this track is 
a "multi" track containing this channel (i.e. MultiA if channel was set 
to 07 A) it does not change the current track. 

2. If not, it starts at track 1 and looks for a track that is assigned to this 
exact channel, and sets it to the first track that is. 

3. If there wasn't one, again it starts at track 1 and looks for a "multi" track 
that contains this channel, and sets it to the first track that does. 

4. If none of the above succeed (meaning that this channel is not being 
played on any track), it does not change the current track. 

Also, changing the track in the list editors or channel assignment screens 
sets the current track and vice versa. 



60 E-MU Systems 



Sequencer 
Pattern Mode 



Grid Recording 



Grid recording allows you to lay out notes along a pre-defined grid. This is a 
very visual way to lay down a beat and it makes it easy to experiment, since 
you can change everything by just turning buttons on and off. Proteus 
2500 brings a host of new features to the party. 

What is Grid Recording? 

Grid recording can be visualized as a series of notes placed along a line 
where each note can be turned On or Off with a button. In the example 
below, you'll hear sixteen notes to a measure in 4/4 time. 



o.h 



16 T 



rm rm rm rm _*, 
,6 



2 3 



To program quarter notes, you would turn on one note out of every four as 
shown below. 



rm rm rm rm 




-\ 



:>JW □ 



2 3 



I o o a 



XJE 



9 10 



DE 



12 13 



15 16 



:a^E:a 



Quarter Notes 

Turning on every other button with the 16th note grid selected gives you 
Eighth notes. 



rm rm rm rm 




-x> 



o 



7 8 9 10 



16 T 



in^r 


1 ° i 


1° 


1° !■ 


1° 


1 c 


Ic 


1° 








































• 


• 





J 


• 


• 


• 


• 







Eighth Notes 



Proteus 2500 Operation Manual 61 



Sequencer 
Pattern Mode 



\ 



Press and hold Play, then 
press Record while a pattern is 
playing to jump right into Grid 
Record mode. 



The grid can be set up for 16th notes, 32nd notes, 8th note triplets or 16th 
note triplets. 

When using 32nd notes or recording patterns longer than one bar, the grid 
displays as much of the pattern as it can then switches to the next section. 
When playing one bar of 32nd notes, for example, the sixteen grid buttons 
and LEDs show the first 16 notes, then switch to the second group of 
sixteen notes. 



32 N 



rm rm rm rm~ 





rm /m rm /m- 




The liquid crystal display shows the status of thel6 grid locations. 



X 



32 



'<2 





T 01 GRID 
B: 1. 1 03 


K: D5 11 1 
V: 127 iiiii 





The time signature determines how the grid is laid out. The pattern below is 
in 3/4 time and so onlyl2 locations are needed. 





T 01 GRID 
B: 1. 1 03 


K: D5 iiiii 1 1 
V: 127 iiiii 





Grid mode can also be used in conjunction with either of the other record 
modes. You can go into grid record mode and edit a pattern you created in 
realtime record mode, or you could start with grid recording and record 
over it in either realtime or step mode. 

To examine a pattern in grid mode, place the cursor under the Key field and 
turn the data entry control while the pattern is playing. When you find a 
recorded note, you'll see bars appear and the grid button LEDs will 
illuminate. 



62 E-MU Systems 



Sequencer 
Pattern Mode 



► To Record a Pattern using Grid Recording: 
1. Press the Pattern mode button. The screen shown below appears. 



T 01 STOP Ln: 08 
000° Start of IT 



Bar: 01. 1 



2. Select an empty sequence to begin recording using the data entry 
control. 

3. For now, set the pattern Length to 1 Bar. This will make Grid mode 
easier to understand at first. 

4. Press the Record button. The Realtime LED illuminates and the screen 
shown below appears. 



T 01 REC Ln: 01 Bar: 01. 1 
Quan: 8 Met: on Cnt: 



5. Press the Record button again. The Grid LED illuminates and the screen 
shown below appears. 



Track 
Number 


Current 
Key 


8 note 
positions 


i i ' 


T 01 GRID 
B: 01. 1 


K: CI 

V:000 




i 


BanBeat 


Note 
Velocity 


8 note 
positions 



6. Press the Preset View button and select a preset to use for track one. A 
"pre" or "kit" preset might be a good choice. Press the Preset View 
button again after you've made your selection to return to the Grid 
recording screen. 

7. Select a note from the keyboard. Press the transposition buttons to find 
other sounds. Note that the Current Key field in the LCD changes as 
you play the keypad. 

8. Now turn on a few of the grid buttons. It doesn't matter which for now. 

9. Press Play. You'll be hearing some sort of rhythm. 

10. Go ahead and change the grid buttons. Play around until you get 
something you like. 



Proteus 2500 Operation Manual 63 



Sequencer 
Pattern Mode 



V 



You could also assign 
each new part to another Track 
... or not. It's up to you. 



\ 



If you accidentally press 
the Stop button by mistake, 
simply press the Record button 
twice to return to Grid mode. 



\ 



You can also use the 
data entry control to select 
notes. 



The LCD will now probably look something like the next screen. The 
vertical bars correspond to the grid buttons you've selected. 



T 01 GRID 
B: 01. 1 



K: D5 
V: 127 



Another Rhythm? 

1 1 . Without even stopping, play another note. Keep hunting until you find 
one you like. The last played key will be the selected sound. 

12. With the new sound selected, turn on some grid buttons. (Note that 
they all went off when you changed sounds.) 

Change of Velocity 

13. To pause the sequencer without exiting Grid mode, press the Play 
button. Press the Play button again to continue. 

14. Press one of the Grid buttons. The flashing cursor is now positioned 
underneath that bar in the display. 



T 01 GRID 
B: 01. 1 



K: D5 
V: 127 



15. 



16. 



17. 



18. 



19. 



Now turn the data entry control. The height of the selected bar 
changes, as does the velocity readout. This is one way to change the 
velocities of grid notes. (You can also simply play the velocity on the 
keypads.) 

Turn some of the grid buttons on and off. Note that they now have the 
same velocity as the last note you modified. Since velocity is often 
coupled to volume in the preset, changing the velocities of note can 
have a dramatic effect on the sequence. 

Now press the Home/Enter button. The cursor is now underneath the 
Key field, pause the sequencer by pressing the Play button. 
Re-key the note. If you didn't hit the right note the bars will disappear. 
When you find a recorded note the bars will reappear. 

Re-key the note playing hard and soft on the keypads. Note that when 
you select grid buttons, the last played velocity is used. 



Double Time 

With the sequencer running, select one of the Grid positions by 
pressing its button. 

Press the Repeat button located below the controller knobs. A number 
now appears at the grid location which indicates the number of times 
that the grid resolution has been increased for that location. For 
example, if the number is 2, the note will play twice in that time slot. 



20. 



21. 



64 E-MU Systems 



Sequencer 
Pattern Mode 



Pressing the Erase button while the cursor is on one of the grid loca- 
tions, removes the note from that location. 



22. 



23. 





T 01 GRID 
B: 1. 1 01 


K: D5 21 1 II 

V: 127 I I I 





Repeatedly pressing the repeat button increments the number. The 
display goes up to nine times, but it will go even faster if you keep 
pressing the repeat button. Special effects anyone? 

The Erase button, located right next to the Repeat button, turns off the 
grid locations (as does the grid button itself). 



Proteus 2500 Operation Manual 65 



Sequencer 
Pattern Mode 



Step Time Recording 



In this mode, you can insert events one at a time and place them exactly 
where you want. In Step mode, key events, knobs or external MIDI events 
are recorded into the current pattern step. The resolution of the step is 
selected and indicated in the "Res" field on the LCD. In Step Record mode, 
the Resolution (Res) setting determines the rhythmic value of each step. For 
example, with Resolution set to 1/8 notes, you will step through the pattern 
an eighth note at a time. Step recording records the actual "played" velocity 
of note-on events. 

Another cool feature is that each quantized step is from the current time 
setting. This allows you to easily create complex offbeats using the quantize 
feature.The way it works is simple. If you offset the current time using the 
data entry control, the next step will be quantized from that point! 

As an example, let's say you started at Bar:01.01.0000 with Resolution set to 
8. The next step would be Bar:01.01.0192, the next at Bar:01.02.0000 and 
so on. If the initial time setting was instead, Bar:01.01.0050, the next step 
would be, Bar:01.01.0242 (192 + 50). 

When Auto mode is enabled (Y), the step is automatically incremented 
when a note is entered. The step is not recorded and incremented until the 
last "key up" of a chord. This allows you to make changes to the step as 
long as one key is still held. 

The Gate field allows you to set the note-on duration for note-on events. A 
setting of 50% with eighth note resolution would keep the note held for 
half that period (or a 16th note). Settings of greater than 100% hold the 
note over into the next note. 



Note Value/Number of Ticks 
Resolution Ticks Resolution 



Ticks 



Whole notes 


1536 


Eighth note triplets 


128 


Half notes 


768 


Sixteenth notes 


96 


Quarter notes 


384 


Sixteenth notes triplets 


64 


Quarter note triplets 


256 


32nd note 


48 


Eighth notes 


192 


32nd note triplets 


32 



► To Record a new Pattern in Step Time: 
1. Press the Pattern mode button. The screen shown below appears. 



T 01 STOP Ln: 02 
000° Start of IT 



Bar: 01. 1 



2. Select an empty sequence to begin recording using the data entry 
control. 



66 E-MU Systems 



Sequencer 
Pattern Mode 



3. Set the Pattern Length. Choose a one or two bar length to start. 

4. Press the Record button three times to select Step Record mode. The 



screen shown below appears. 

Track 
Number 



Bar Beat 



Tick 



T 01 STEP Bar: 01. 01. 0000 
Res: 8 Gate: 85% Ruto:Y 



Step 
Resolution 



Gate On 
Percentage 



Auto Increment 
On/Off 



5. Select a Track number. The default value is Track one. 

6. Turn Auto Increment On. This feature automatically increments the 
step (by the selected step resolution) each time you press the Play 
button. 

7. Press the Preset View button. The preset screen shown below appears. 



COIR V127 POO R:P 
050 3 kit:80's Tones 



User 



8. Select a Preset for your first track. 

9. Press the Preset View button again after you've selected a preset. The 
LED will go out and you'll be returned to the Pattern screen. 

Get ready to record! 

10. Set the Step Resolution to eighth notes for now (8). 

Play a note (or notes) on the keypad. The step records and increments 
when you release the keys. Note the setting of the bar.beat.tick display 
as the steps increment. 

Keep adding notes to steps. You can also record knob settings. Simply 
turn the knobs in any of the controller knob modes and these moves 
will be recorded. 

Press Stop when you've finished recording. 

Press Stop again to rewind to the beginning of the pattern. 

15. Change the Resolution and record another pass. 

To Erase the Pattern: 

16. There are several ways to erase entire pattern. Probably he easiest way is 
to simply Save an empty sequence over the pattern you want to erase. 

• You could also "Erase All Events" from the Pattern Edit menu. 



11. 



12. 



13. 

14. 



Proteus 2500 Operation Manual 67 



Sequencer 
Pattern Edit Menu 



Pattern Edit 
Menu 



Track Enable/Mute 
Buttons 



Name Pattern 



Pattern Length 



The Pattern Edit menu contains housekeeping, pattern editing filters and 
other tools. 

The Pattern Edit button is DISABLED unless you are in Pattern Mode! 



IMPORTANT: In Pattern Edit mode, Track Enable/Mute buttons are used 
to select which tracks will be affected by the editing operation. 




Any enabled tracks will be edited and any disabled tracks will be unaffected 
by the editing operation — Quantize, Thin Events, Erase Events, Velocity 
Scale/Shift, Extend or Transpose. 

Patterns can be named with up to 16 characters. Position the cursor under 
the character location and use the data entry control to change the 
character. 



PRTTERN NRME 
006 1 Metallic 6 



Patterns can be anywhere from one to thirty two measures in length. A 
pattern loops when it reaches the end whether in record or playback 
modes. 

A pattern's length can also be changed at any time, before or after 
recording. If you increase the length of a pattern after recording, it will play 
silently for the extra time unless new data is recorded there. If you shorten 
a pattern's length after recording, it will play up to it's new length then 
loop. Changing the length of a pattern does not change any data until you 
save it. If you save a shortened pattern, the unplayed data will be erased. 

► To Set the Pattern Length from the Pattern Edit menu: 

1. Select Pattern Edit mode from Pattern mode. 

2. Locate the Pattern Length screen using the data entry control. 



PRTTERN LENGTH 
Length: 32 bars 



3. Move the cursor to the lower line of the display using either cursor key, 
then set the length of the pattern using the data entry control. 



68 E-MU Systems 



Sequencer 
Pattern Edit Menu 



Setting Meter 
(lime Signature) 



► To Set the Pattern Length from the Main Pattern Screen: 

1. Select the pattern in Pattern mode. 

2. Move the cursor to the Length (Ln) field using the cursor keys. 



T 01 STOP Ln: 02 
000° Start of IT 



Bar: 01 . 1 



3. Set the Length of the pattern using the data entry control. 

Proteus 2500 allows you to set almost any conceivable time signature. The 
numerator (indicating number of beats in a measure) can be set from 1 to 
99. The denominator (indicating the rhythmic value of each beat) can be 
set to 1, 2, 4, 8, 16, 32, or 64. The time signature can be changed at any 
time before or after recording. 

The meter setting affects the bar:beat display, the pattern length, 
metronome accent, and the grid recording display. 

For background information about Time Signatures, see page 311. 

► To Set the Time Signature: 

1. Select the pattern in which you want to record. 

2. Press the Pattern Edit button. The Pattern Edit menu screen displays 
the menu page most recently selected since powering up Proteus 2500. 

3. Scroll to the Meter screen using the data entry control. The meter 
setting will probably show the 04/4 default time signature. 



METER 
04 / M 



METRONOME 
off 



VRLUE 
1/8 



4. Press the right cursor button once to move the cursor underneath the 
numerator field. 

5. Set the time signature numerator value using the data entry control. 

6. Press the right cursor button again to move the cursor underneath the 
denominator field. 

7. Set the time signature denominator value using the data entry 
control. 

8. Press the Pattern Edit button again to exit pattern edit mode. 



Proteus 2500 Operation Manual 69 



Sequencer 
Pattern Edit Menu 



Metronome 



\ 



The higher metronome 
speeds are useful when recording 
a fast part since you may slow 
the tempo way down and still 
hear where you are in the 
pattern. 



\ 



Play the pattern to listen 
to the Metronome while you set 
the Value. 



The metronome is a timing aid when recording or playing back patterns 
and songs and can be set to a wide variety of different beats. The 
metronome produces an accented click on the first beat of each measure 
and a softer click on other beats. The following metronome beat options are 
available: 



Symbol 




Symbol 




1/1 


whole notes 


l/2d 


dotted half notes 


1/2 


half notes 


l/4d 


dotted quarter notes 


1/4 


quarter notes 


l/8d 


dotted eighth notes 


1/8 


eighth notes 


l/4t 


quarter note triplets 


1/16 


sixteenth notes 


l/8t 


eighth note triplets 


1/32 


thirty-second notes 


l/16t 


sixteenth note triplets 






denom 


uses the denominator 
value of the meter setting 



The metronome setting is NOT saved with the pattern. 

► To Set the Metronome: 

1 . Press the Pattern Edit button. The Pattern Edit menu screen displays 
the menu page most recently selected since powering up Proteus 2500. 

2. Scroll to the Metronome screen using the data entry control. 



METER 
04 / M 



METRONOME 
off 



VRLUE 
1/8 



3. Move the cursor underneath the Metronome field and turn the 
metronome to On, Off or Rec using the data entry control. 

• Off - the metronome doesn't play. 

• On - the metronome plays during recording and playback. 

• Rec - the metronome only plays while recording. 

4. Move the cursor underneath the Value field and set the metronome 
beat value using the data entry control. 



70 E-MU Systems 



Quantize 



Sequencer 
Pattern Edit Menu 



The timing can also be changed after a pattern has been recorded. Quantize 
moves all the note start times in the track to fall on (or closer to) the 
specified time values. 

► To Quantize a Pattern: 

1. Select the pattern. 

2. Select the Track(s) you wish to quantize using the Track Enable/Mute 
buttons. 

3. Press the Pattern Edit button. 

4. Scroll to the Quantize screen shown below using the data entry 
control. 



QURNTIZE Resolution: 16 
Rmount: 75% Swing: 50% 



5. Set up the Quantize parameters as desired. The Home/Enter LED will 
be flashing once the cursor is moved to one of the editable fields. 

6. Press Enter to Quantize or add Swing. Press any other button to Cancel 
the operation. 

Quantize Parameters 



Resolution- 



Amount 



Sets the desired note value to which note-on events will be 
corrected. With sixteenth notes selected, Quantize will move 
played notes toward, or exactly onto, sixteenth note time slots. 

Controls how much quantization is applied. With a setting of 
100%, events are moved all the way to the specified note value. 
With a setting of 50%, events are moved 50% closer to the 
specified note value. 



Ill 




Quantization 



Resolution: 8 
Amount: 50% 



With an amount of 50%, notes are moved 50% closer to the 
specified Quantization value. 

Swing - Swing adds a rhythmic feel by shifting the time allocated to 
every other grid point in a pattern. In the default case where 
swing is set to 50% (No Swing), the first eighth note takes up 
50% of the quarter note and the second eighth note takes up 
the remaining 50% of the time. 



Proteus 2500 Operation Manual 71 



Sequencer 
Pattern Edit Menu 



50% Swing 

Eighth notes play at regular intervals 



0% 50% 100% 

If swing were set to 67%, the first eighth note falls on the beat, but the 
second eighth note is delayed by 67%. 

67% Swing 

Every other eighth note plays late 



o% 



67% 



Values below 50% give a kind of "reverse swing" where every other eighth 
note comes in early Odd, but maybe just the thing for your style of music. 

30% Swing 

Every other eighth note plays early 



30% 



More about Swing 

Swing can help add a more human "feel" to a series of repeating patterns. 
For example, if you repeat the same pattern four times, try setting a swing 
factor of 54% for, say, the third pattern. This results in a series of patterns 
which are more psycho-acoustically interesting than merely repeating the 
same pattern over and over. 

67% is considered the "classic" jazz swing factor, where the first eighth note 
is 2/3 of a quarter note, and the second eighth note is 1/3 of a quarter note 
(i.e. the second eighth note behaves more like an eighth note triplet). If this 
sounds too "perfect", try a swing factor of 64% instead. The results will be 
similar, but the "feel" will be slightly different. 



72 E-MU Systems 



Sequencer 
Pattern Edit Menu 



Scale/Shift Duration 



\ 



Tip: To set all notes to a 
particular value, set Scale to 0%, 
(this zeros the value) then set 
Shift to the desired duration. 



This filter allows you to either scale (multiply by a value) or shift (add a 
value to) the note durations in the selected tracks. The Scale function is 
performed before the Shift value is added. 



Scale 



Shift 



Multiplies all note durations by a percentage from 0% to 125%. 
Scaling by 100% would leave all note durations untouched. 
Scaling by 50% would cut all note durations in half. 

Adds or subtracts a specific note duration in quarter notes and 
ticks to note-on events in the selected tracks. 



► To Scale or Shift Note Duration: 

1. Select the pattern you wish to edit. 

2. Select the Track(s) you wish to Scale or Shift using the Track Enable/ 
Mute buttons. 

3. Press the Pattern Edit button. 

4. Scroll to the Scale/Shift Note Duration screen shown below using the 
data entry control. 



5CRLE/5HIFT NOTE DURRTION 



Scale: 87% 



Shift: +00.000 
J. x 



:s 



Quarter Notes 



X — 

Ticks 



Select the amount of note duration scaling or shift (offset). The 

Home/Enter LED will be flashing once the cursor is moved to the lower 
line of the display. 

Press Enter. The screen shown below appears to remind you to select 
the tracks you want to filter. Select a key range for filtering. The default 
setting is all keys. 



SELECT TRRCKS 

Key Range: C-2 to:G8 



Low Key 



High Key 



7. Press Enter to scale/shift the note durations. Press any other menu 
button to Cancel the operation. 



Proteus 2500 Operation Manual 73 



Sequencer 
Pattern Edit Menu 



Thin Events 



&6 

If too much data is 
recorded into a pattern, the 
sequencer may slow or clog. Use 
the "Thin Events" function to 
reduce the amount of 
extraneous data in the pattern. 



Event thinning is usually performed to reduce the amount of extraneous 
controller data and thus reduce the memory size of patterns. This filter 
reduces the number of events in a musical fashion. Events may be reduced 
by a specified amount from 1 to 128. The setting represents the smallest 
change that will be kept. For example, if the setting were set to 3 and you 
were thinning a controller sweep that went 1-2-3-4-5-6-7, you would be left 
with:l-4-7. The filter also keeps any change in direction values. 





The setting 

represents the smallest 

change that will be kept. 



Direction Changes are always kept. 



The following types of events can be thinned: 

• Tempo 

• Poly Aftertouch 

• Channel Aftertouch 

• Pitch Wheel (Touchstrip) 

• Any Continuous Controller (1-95) 

► To Thin Events in a Pattern: 

1. Select the pattern you wish to edit. 

2. Select the Track(s) you wish to thin using the Track Enable buttons. 

3. Press the Pattern Edit button. 

4. Scroll to the Thin Events screen shown below using the data entry 
control. 



THIN EVENTS 

chan aftertouch Rmt: MO 



5. Select the type of event you want thinned, then set the amount of 
thinning. The Home/Enter LED will be flashing once the cursor is 
moved to one of the editable fields. 



74 E-MU Systems 



Sequencer 
Pattern Edit Menu 



Erase Events 



6. Press Enter. The screen shown below appears to remind you to select 
the tracks you want to thin. Select a key range for thinning. The default 
setting is all keys. 



SELECT TRRCK5 

Key Range: C-2 to:G8 

z rev- 



iew Key 



"^s 

High Key 



7. Press Enter to thin events. Press any other menu button to Cancel the 
operation. 

Specific types of events can be completely erased from a pattern. 

The following types of events can be erased: 

• All Track Events 

• Notes 

• All Controllers 

• Program Changes 

• SysEx Data 

• Meter 

• Tempo 

• Poly Aftertouch 

• Channel Aftertouch 

• Pitch Wheel (Touchstrip) 

• Any Continuous Controller (1-119) 

► To Erase Events from a Pattern: 

1. Select the pattern you wish to edit. 

2. Select the Track(s) you wish to erase using the Track Enable/Mute 
buttons. 

3. Press the Pattern Edit button. 

4. Scroll to the Erase Events screen shown below using the data entry 
control. 



ERR5E EVENTS 
program change 



5. Select the type of events you want erased. The Home/Enter LED will be 
flashing once the cursor is moved to the lower line of the display. 



Proteus 2500 Operation Manual 75 



Sequencer 
Pattern Edit Menu 



Transpose 



6. Press Enter. The screen shown below appears to remind you to select 
the tracks you want to erase. Select a key range. The default setting is all 
keys. 



SELECT TRRCK5 

Key Range: C-2 to:G8 



7. Press Enter to erase the events. Press any other menu button to Cancel 
the operation. 

All notes in a pattern can be transposed up or down from -127 to +127 
semitones. For example with a setting of +7, all notes in the pattern would 
be transposed up a perfect fifth. 

Warning: If you transpose notes past the hard limits of and 127, those 
notes will be erased from the pattern. 

► To Transpose a Pattern: 

1. Select the pattern you wish to edit. 

2. Select the Track(s) you wish to Transpose using the Track Enable/Mute 
buttons. 

3. Press the Pattern Edit button. 

4. Scroll to the Transpose screen shown below using the data entry 
control. 



TRRN5P05E 
+7 semitones 



5. Select the amount of transposition you want. The Home/Enter LED 
will be flashing once the cursor is moved to the lower line of the 
display. 

6. Press Enter. The screen shown below appears to remind you to select 
the tracks you want to transpose. Select a key range. The default setting 
is all keys. 



SELECT TRRCK5 

Key Range: C-2 to:G8 



7. Press Enter to transpose the selected tracks. Press any other button to 
Cancel the operation. 



76 E-MU Systems 



Sequencer 
Pattern Edit Menu 



Scale/Shift Velocity 



\ 



Tip: To set all notes to a 
particular velocity value, set 
Scale to 0%, then set Shift to the 
desired velocity. 



This filter allows you to either scale (multiply by a value) or shift (add a 
value to) the velocity values of notes in a pattern. The Scale function is 
performed before the Shift value is added. 



Scale 



Shift 



Multiplies all note-on velocities by a percentage from 0% to 
125%. Scaling by 100% would leave all velocity values 
untouched. Scaling by 50% would cut all velocity values in half. 

Adds or subtracts a specific velocity value (-127 to +127) to 
every note-on event in the pattern. 



► To Scale or Shift Velocity: 

1. Select the pattern you wish to edit. 

Select the Track(s) you wish to Scale or Shift using the Track Enable/ 
Mute buttons. 

Press the Pattern Edit button. 

Scroll to the Scale/Shift Velocity screen shown below using the data 
entry control. 



2. 

3. 
4. 



5. 



6. 



5CRLE/5HIFT VELOCITY 
Scale: 87% Shift: +0 



Select the amount of velocity scaling or shift. The Home/Enter LED 
will be flashing once the cursor is moved to the lower line of the 
display. 

Press Enter. The screen shown below appears to remind you to select 
the tracks you want to velocity scale or shift. Select a key range. The 
default setting is all keys. 



SELECT TRRCKS 

Key Range: C-2 to:G8 



7. Press Enter to change velocity in the selected tracks. Press any other 
button to Cancel the operation. 



Proteus 2500 Operation Manual 77 



Sequencer 
Pattern Edit Menu 



Extend Sequence 
Data To 



This feature lets you change the length of any selected tracks after recording 
a pattern. If you are lengthening a pattern, the pattern is looped to fill in 
the empty space. If you set the length shorter than the existing pattern, the 
pattern will be truncated. 

You can set the pattern length before you extend so that only those 
bars will be copied. The copied data will be merged with the data in the 
subsequent bars of the pattern. 

To Extend the 1st Bar over 4 Bars 



1 . Set Pattern 
Length to 1-bar 



■ ■I in 



mi mi mi 



Bar 1 



Bar 2 



Bar 3 



Bar 4 



2. Extend Sequence 
Data to 4-bars 




Bar1 



Bar 2 



Bar 3 



Bar 4 



► To Extend the Length of Selected Tracks: 

1. Select the pattern you wish to extend. 

2. Select the Track(s) that you want to extend using the Track Enable/ 
Mute buttons. 

3. Press the Pattern Edit button from pattern mode. 

4. Scroll to the Pattern Length screen and set the length to the measures 
you wish to extend. For example, if you want to copy the first measure, 
set the length to 1. 

5. Scroll to Extend Sequence Data using the data entry control. 




6. Move the cursor to the lower line of the display and select the new 
pattern length. 

7. Press Enter. The following screen appears. 



— PERFORM OPERRTION? -- 
Enter = Yes Other = Cancel 



8. Press Enter again to extend the pattern or any other menu button to 
cancel the operation. 



78 E-MU Systems 



Sequencer 
Pattern Edit Menu 



Erase Track 



An entire track or a section of a track can be erased in a single operation. 
This feature makes it easy to erase a flubbed take or erase a section of track 
before pasting new data. 



Before 

Bar- 



Erase Pattern or Song Track 







Start 
Bar 

▼ 




Length = 3 Bars 
V 




l.ll 


1 .1 


■ III 


I.I 1 


lilil 


■ Mil 


.1 . 


l.ll 


12 3 4 5 6 7c 


5 



After 


I.I 


llll 








■ 1 ■ 




Bar- 1 2 3 


I 5 6 7 c 


5 



► To Erase a Track: 

1 . Press the Pattern Edit or Song Edit button. 

2. Scroll to the Erase Track screen shown below using the data entry 
control. 



ERR5E TRRCK 
Track: 1 Bar:01 



zz: 



Len:32 



Track to be 
Erased 



Start 
Location 



Length in 
bars 



3. Select the track you want to erase. The Home/Enter LED will be 
flashing once the cursor is moved to the lower line of the display. 

4. Select the first Bar you want to erase. The bar range for patterns is 01- 
32; the bar range for songs is 001-999. 

5. Select the Length of the track you want erased. 

6. Press Enter to erase the selected section of the Track. 

7. Press any other menu button or exit the edit menu to Cancel the 
operation. 



Proteus 2500 Operation Manual 79 



Sequencer 
Pattern Edit Menu 



Cut Track to 
Clipboard 



^\ Cut track can be used as 
a way to erase a track. 



^\ Tracks can be freely cut, 
copied or pasted between songs 
and patterns. 



An individual track or a section of a track can be cut or copied and held on 
a digital "clipboard" so that it can be pasted into another track or pattern. 
This function cuts or removes a track (or section of a track) from the pattern 
and places it on the clipboard, where it will be held until it is replaced with 
another cut or copy operation, or the power to Proteus 2500 is turned off. 

Cutting a section from a track will leave a blank space in the track. 



Cut 




Tracks 



The cut section is placed on the clipboard leaving a blank space in the 
track where the data was cut out. 



► To Cut a Track: 

1. Select the pattern you wish to edit. 

2. Press the Pattern Edit button. 

3. Scroll to the Cut Track to Clipboard screen shown below using the 



data entry control. 



CUTTRRCKTO CLIPBORRD 
Track: 1 BanOM Len:07 



4. Select the track to be cut. The Home/Enter LED will be flashing once 
the cursor is moved to the lower line of the display. 

5. Select the Start Bar and the Length (in bars) to be cut. 

6. Press Enter to cut the track. Press any other menu button to Cancel the 
operation. 



80 E-MU Systems 



Sequencer 
Pattern Edit Menu 



Copy Track to 
Clipboard 



An individual track or a section of a track can be copied and held on a 
digital "clipboard" so that it can be pasted into another track or pattern. 
This function makes a digital copy of the selected track and places it on the 
clipboard, where it will be held until it is replaced with another cut or copy 
operation, or the power to Proteus 2500 is turned off. 



Copy 




Tracks 



► To Copy a Track: 

1. Select the pattern you wish to edit. 

2. Press the Pattern Edit button. 

3. Scroll to the Copy Track to Clipboard screen shown below using the 
data entry control. 



COPY TRRCK TO CLIPBORRD 
Track: 1 Bar:06 Len:07 



4. Select the track to be copied. The Home/Enter LED will be flashing 
once the cursor is moved to the lower line of the display. 

5. Select the Start Bar and the Length (in bars) to be copied. 

6. Press Enter to copy the track. Press any other menu button to Cancel 
the operation. 



Proteus 2500 Operation Manual 81 



Sequencer 
Pattern Edit Menu 



Paste Clipboard to 
Track 



\ 



Tracks can be freely cut, 
copied or pasted between songs 
and patterns. 



Once a track (or a section of a track) has been cut or copied to the 
"clipboard", it can be pasted into another track or pattern from 1 to 99 
times. The Paste operation Merges the clipboard data with the data on the 
destination track. It adds the new information to the existing data with the 
start of the data in the clipboard placed at the selected bar position. 

Because of the data merging feature, the Paste operation can be used to 
"bounce down" multiple tracks to a single multichannel track. See below. 



Specified p aste 
Bar 

1 f \ 


Q 


4 




1 1 




I 


li i i I 




Clipboard 


Li ii ii i i 1 




[ 


Tracks 

Paste x3 

Specified y* ^ — -" 
Bar / y^ S^~ 






2-bars 


l.i i 1 


Clipboard 


1 1 i 1 ! I i I 


1 2 3 

Total Extension = 6 bars 









► To Paste the Clipboard into a Track: 

1. Press the Pattern Edit button. 

2. Cut or Copy data to the clipboard. See pages 80 and 81. 

3. Scroll to the Paste Clipboard to Track screen shown below using the 
data entry control. 



PR5TE CLIPBORRD TO TRRCK 



Track: 1 

,z_ 



Rt Bar:06 



zt- 



X:3 

\ 



SI 



Destination 
Track 



Start 
Location 



Number 
of Pastes 



82 E-MU Systems 



Sequencer 
Pattern Edit Menu 



S*> 



You will not hear the 
results of the Paste operation 
until the sequence cycles around. 
(Hint: Press RTZ) 



4. Select the track where you want the clipboard data to be pasted. The 
Home/Enter LED will be flashing once the cursor is moved to the lower 
line of the display. 

5. Select the bar where the clipboard contents will be pasted. 

6. Select the number of times you want the clipboard data pasted. 

7. Press Enter to paste the data. Press any other menu button to Cancel 
the operation. 

► To Bounce Tracks: 

1. Copy the first track you wish to bounce. 

2. Paste the track to the desired destination track. 

3. Repeat steps 1 & 2 for the other tracks you wish to bounce down. 

4. Press the Pattern Edit button and scroll to the Channel Assign screen. 

5. Set the Track containing all your bounced tracks to MultiA. 

(or MultiB if the original tracks were recorded using the "B" channels.) 



Proteus 2500 Operation Manual 83 



Sequencer 
Pattern Edit Menu 



Channel Assign 



X 



You might want to 
designate a certain track to 
handle external program 
changes. Set this track to "Ext" 
and choose "MultiA " or 
"MultiB". 



This important screen assigns each track to a Main channel (01A-16B). This 
"rechannelizes" the data on the track to the channel you choose here. The 
default mode of operation for Proteus 2500 is to have tracks assigned to the 
same-numbered MIDI channel. This convention makes it easy to keep 
everything organized and it works well for most recording. 

Because tracks can be recorded with multiple MIDI channels, "Multi A" and 
"Multi B" options are provided in the channel selection field. The Multi 
options route data to either the A or B channels (internal or external). For 
example, you could route a multichannel track to only use the B channels. 

Each track can also be routed to: internal MIDI channels, the external MIDI 
port or none. Channels 1A-16A and Multi A are routed to MIDI port A if 
"ext" or "both" is selected as a destination for that track. 

Important Note: Program change messages are NOT transmitted exter- 
nally if the destination is set to Both. To transmit program changes to 
external MIDI devices, set the destination to External (EXT). 



Track Channel Destination 









QoUTA 


Track 
1 




Chan 
1A 
























QoUTA 


Track 
2 




Chan 
2A 


W 1 ■ i I 


















Multiple 
Channels 




QoUTA 


Track 
3 




Multi 
A 




Internal 


W 






• 
• 
• 








L^| © 0UTS 


Track 
16 




Chan 
3B 




none lnternal 













84 E-MU Systems 



Sequencer 
Pattern Edit Menu 



Multichannel Track 
Recording 



\ 



The Channel Assignment 
screen is a MIDI rechannelizer. 
The Multi A or B assignments 
allow multiple MIDI channels on 
a track. 



► To Assign Tracks to MIDI Channels: 

1. Select the pattern you wish to edit. 

2. Press the Pattern Edit button. 

3. Scroll to the Select Track Changes screen shown below using the data 
entry control. 



T 01 CHRNNEL R55IGN 
Channel: 01R: Dest:both 



4. Select the desired track(s). 

5. Select the desired channel for the track. 

6. Select the desired destination for the track. 

7. Press the Pattern Edit button again to exit the module. 

Each of Proteus 2500's 16 tracks can contain multichannel MIDI data. 
Because tracks can be routed internally or externally on either of the two 
MIDI ports, the Proteus 2500 sequencer can actually control up to 48 
separate MIDI channels (16 internal-A, 16 internal-B, 16 MIDI port-A). 
Once a track is enabled for multichannel recording you can record into it 
using the rubber keypads or external MIDI. 

► To Setup a Track for Multichannel Recording 

1 . Select the pattern you wish to record. 

Playback Setup (steps 2-7 set up the track for multi-channel play back) 

2. Press the Pattern Edit button. 

3. Scroll to the Select Track Changes screen shown below using the data 
entry control. 



T 01 CHRNNEL R55IGN 
Channel: 01R: Dest:both 



4. Select the desired track. 

5. Set the track to MultiA or MultiB. 

6. Select the desired destination for the track (internal, external or both). 

7. Press the Pattern Edit button again to exit the module. 



Proteus 2500 Operation Manual 85 



Sequencer 
Pattern Edit Menu 



Aux Channel Assign 



Continue on to Record a Multichannel Track using the Rubber Keypads... 

8. Press the Controllers button and make sure "Keyboard/Knob Channel" 
is set to "Basic". This feature automatically changes the channel of the 
keypad to whatever channel is shown in the preset view display 

9. Make sure the multichannel track you set up (step 4 above) is selected. 

10. Set the Pattern Length. 

Ready to Record 

1 1 . Press the Preset View button. 

12. Select a preset for channel 01A. 

13. Press Record, then Play. Start playing! 

Record Channel 2 

14. Select channel 02A. 

15. Select a preset for channel 02A. 

16. Press Record, then Play. Start playing! 

17. Continue to record channels. 



Each track can also be assigned to a separate Aux channel. This assignment 
works exactly like the main channel assignment (page 84). In certain situa- 
tions it may be useful to transmit using two MIDI channels or both MIDI 
ports. 

The Aux Channel assignments are NOT saved with the pattern or multi- 
setup and reverts to its default state upon power-up. 



86 E-MU Systems 



Sequencer 
Pattern Edit Menu 



Note List Editor 



\ 



You can edit notes and 
note velocity by playing the 
keyboard. 



Individual MIDI notes in the pattern can be edited, inserted or deleted from 
this screen. Place the cursor underneath the "Event Scroll Field" shown 
below and turn the data entry control to navigate through events. 

• Hold the Enter button and turn the data entry control to scroll through 
events when the cursor is on any other field 



Track Number 



Event Scroll Field 

(scroll though events) 



Time Location 



# 



T 01 NOTE < > 
C01 C#1 v:100 



002.03.008 
dur:00.083 



MIDI 
Channel 



*? 



* 



MIDI 
Note 



Note 
Velocity 



Note 
Duration 



• Erase button Erases the currently selected note. 

• Repeat button Duplicates the currently selected note, allowing you 

to edit and create a new note. 

1) Press Repeat. 

2) Change the time, channel, or MIDI note. 

Note: You cannot have two events with the exact same time and data in 
a pattern. Proteus 2500 will delete any duplicate events as soon as you 
increment the event or exit the screen. 

► To Edit a MIDI Note: 

1. Select the pattern you wish to edit. 

Press the Pattern Edit button. 

Scroll to the Note List Editor screen shown below using the data entry 
control. 

Press the Enter button as prompted by the display to begin editing. 

Select the Track that you want to edit using the Track/Channel select 
button near the LCD. 



2. 
3. 

4. 
5. 



T 



01 NOTE <-> 



C01 C#1 v:100 



002.03.008 
dur:00.083 



6. Press the right Cursor button to move the cursor underneath the Event 
Scroll field (<->). 

7. Turn the data entry control to scroll through the event list and locate 
the event you want to edit. 

8. Move the cursor to the data field you want to edit and make changes 
using the data entry control. 

9. Press the Pattern Edit button to exit the Pattern Edit module. 



Proteus 2500 Operation Manual 87 



Sequencer 
Pattern Edit Menu 



Event List Editor 



Continuous controller, pitch wheel, mono pressure, poly pressure and 
program change MIDI messages can be edited, inserted or deleted using this 
menu. Place the cursor underneath the "Event Scroll Field" shown 
below and turn the data entry control to navigate through events. 

The event list editor also allows you access to the Conductor Track which sets 
the tempo and meter for the pattern. 

Hold the Enter button and turn the data entry control to scroll through 
events when the cursor is on any other field. 

• Erase button Erases the currently selected event. 

• Repeat button Duplicates the currently selected event, allowing 

you to edit and create a new event. 

1) Press Repeat. 

2) Change the time, channel, or MIDI event type. 

• Note: You cannot have two events with the exact same time and data in 
a pattern. Proteus 2500 will delete any duplicate events as soon as you 
increment the event or exit the screen. 

Continuous Controller Edit 

Continuous controller numbers 1-95 can be edited. Continuous controllers 
and Channel Pressure messages may range in value from 0-127. 

Continuous Controller Screen 



Track Number 

rVz 



Event Scroll Field 

(scroll though events) 



Time Location 



+ 



T 01 EVENT <-> 002.03.008 
C01 controller #1 v:52 



MIDI 
Channel 



Event 
Type 



t 



* 



Controller 
No. Field 



Event 
Value 



Pitch Strip Edit 

Pitch Wheel messages are bidirectional and may range in value from -8192 
to +8191. 

Pitch Strip Screen 



T 01 EVENT <-> 
C01 pitch strip: 



002.03.004 
-M9 



Bidirectional Pitch Value 



88 E-MU Systems 



Sequencer 
Pattern Edit Menu 



&6 

In order to send program 
changes to external devices, the 
Track must be assigned to an 
"external" channel. Seepage 84 
for details. 



Poly Pressure Edit 

Polyphonic pressure messages are assigned on a per note basis and have 
range of 0-127. Proteus 2500 cannot receive poly pressure messages. 

Poly Pressure Screen 



T 01 EVENT <-> 
C01 polypress: 



002.03.004 
CI 62 



^ 



MIDI 
Note 



Poly Pressure 
Value 



Program Change Edit 

Program change numbers from 0-127, and on any bank number, can be 
inserted, deleted or edited in this screen. If you do not select bank numbers 
(off), the program change will be sent to the currently selected bank. See 
"Bank Select Commands" on page 174. 

Program Change Screen 



T 



01 EVENT 



<-> 003.02.026 



C01 



prog: 10 

/ 



m:off l:off 



^ 



*F 



Program 


Bank 


Bank 


Change 


Number MSB 


Number LSB 


Number 


cc.O 


cc.32 



► To Edit a MIDI Event: 
1. Select the pattern you wish to edit. 
Press the Pattern Edit button. 



2. 

3. 

4. 
5. 



Scroll to the Event List Editor screen shown below using the data entry 
control. 

Press the Enter button as prompted by the display to begin editing. 

Select the Track that you want to edit using the Track/Channel select 
button near the LCD. 



T 

C01 



01 EVENT <-> 



controller #1 



002.03.008 
v:52 



Proteus 2500 Operation Manual 89 



Sequencer 
Pattern Edit Menu 



6. Press the right Cursor button to move the cursor underneath the Event 
Scroll Field (<->). 

7. Turn the data entry control to scroll through the event list and locate 
the event you want to edit. 

8. Move the cursor to the data field you want to edit and make changes 
using the data entry control. 

9. Press the Pattern Edit button to exit the Pattern Edit module. 

The Conductor Track (track 0) 

The conductor track allows you to insert tempo and meter changes 
anywhere in the pattern. Select the track below track 1 and the first screen 
shown below will appear. 

Conductor Track Screens 



T CT EVENT <-> 003.01.000 
C01 tempo: 138 bpm 



T CT EVENT <-> 003.01.000 
C01 meter: OM/M 



► To Insert a Tempo Change into the Conductor Track: 

1. Select the pattern you wish to edit. 

2. Press the Pattern Edit button. 

3. Press the (-) Track/Channel button until "CT" appears in the track 
field. 

4. Press the Enter button as prompted by the display to begin editing. 

5. Move the cursor to the lower line of the display and select tempo. 



Track field 



:s: 



Time Location 



-y 



7- 



CT EVENT 



<-> 



002.03.008 



tempo: 120 bpm 



Z£. 



7~ 

Tempo/Meter field 



3; 



X 

BPM field 



6. Move the cursor under the bpm field and set the tempo. 

7. Set the Time Location where you want the tempo change to occur. 



90 E-MU Systems 



Sequencer 
Pattern Edit Menu 



S*> 



To Insert a new Event: 

1) Press the Repeat button. 

2) Modify the Time & Tempo. 



Revert to Saved 
Pattern 



<5>& 

Caution: Never "Revert 
to Saved" while the sequencer is 
in record mode or the computer 
may crash. 



8. If you want to add another tempo change, press the Repeat button on 
the Proteus 2500 front panel. 

9. Change the Time Location and Tempo. 

10. Press the Pattern Edit button to exit the Pattern Edit module. 

► To Remove or edit a Tempo Change from the Conductor Track: 
1. Select the pattern you wish to edit. 
Press the Pattern Edit button. 



2. 
3. 



Press the (-) Track/Channel button until "CT" appears in the track 
field. 



4. Press the Enter button as prompted by the display to begin editing. 

5. Press the right Cursor button twice to move the cursor underneath the 
Event Scroll field (<->). 

6. Turn the data entry control to scroll through the event list and locate 
the tempo change you want to edit. 

Event Scroll Field 

(scroll though events) 

X 



2S 



T 



^ 



CT EVENT <-> 002.03.008 
tempo: 120 bpm 



7. Press the front panel Erase button on Proteus 2500 to erase the tempo 
event. 

8. Simply change the Tempo or Location fields to modify the tempo or 
time of the event. 

9. Press the Pattern Edit button to exit the Pattern Edit module. 



► To Insert or Edit Meter Changes: 

Meter changes are inserted and edited exactly like tempo changes. 

This screen allows you to discard any edits made to the pattern and restore 
the last saved version. This is not the same as an "Undo" function since 
Revert permanently discards any edits you have made since saving. This 
function removes the asterisk in the display that appears after you've edited 
the pattern. 



Proteus 2500 Operation Manual 91 



Sequencer 
Song Mode 



Song Mode 



Song Play 



Song Step Recording 



Song mode is selected by pressing the Song mode button beneath the 
liquid crystal display The screen shown below is displayed in Song mode. 
See "Songs" on page 50. 



J:150 M: OM / M 
000° Start of IT 



Bar: 001 . 1 



□ 

Play 

□ 



Stop 



Pressing Play in Song mode causes the selected song to play. 



Pressing the Stop button stops the song immediately. Pressing 
Stop again rewinds the song to the beginning (RTZ). Pressing Stop 
a third time reloads the initial setup information for the Song. 



As described on page 50, songs can be recorded in two ways. Step recording 
involves linking patterns together to form more intricate arrangements. 

► To Step Record a Song: 
1. Press the Song mode button. The screen shown below appears. 



Song Tempo 
(if song events selected) 



Song Meter 



Current Location 



J:150 M: 0M / M 
000° Start of IT 



Bar: 001 . 1 



Song Name 

2. Select a Blank song to begin recording using the data entry control. 

3. Press the Record button twice to select Step Record mode. The Step 
record LED illuminates and the screen shown below appears. 



Song Step 
Number 



Step 
Length 



Current 
Position 



5 01 STEP 



Ln: 04 
-NONE- 



Bar:001 



Step Contents 
(None, Stop, Pattern) 



92 E-MU Systems 



Sequencer 
Song Mode 



S*> 



Hot Tip: You can 

audition patterns In Song Step 
Record by pressing the Play 
button. Press Play again to stop 
auditioning. 



>0 You must press the 
Enter button to confirm each 
step change. Any changes 
you make without pressing 
Enter will be discarded. 



□ 



Home/Enter 



^ 



You can move the cursor 
to any field and change it while 
in step record mode. 



4. The cursor is on the lower line of the display. Turn the data entry 
control to select a Pattern for step one. 

5. Press Enter to choose the pattern and increment the step counter. Note 
that the current position (Bar) field now indicates the bar position just 
beyond the length of the first pattern. 

6. Select another pattern for song step 2. Press the Play button to 
audition the pattern before pressing Enter. 

7. Press Enter when you've made your selection and the step counter 
increments again. 

8. Continue to add Patterns. When you're ready for the Song to end, 
turn the data entry control counter-clockwise and select the STOP 
command. If you don't insert a "Stop" command, the last pattern will 
simply continue to play indefinitely. 

Changing the Length of Patterns 

9. While in Step Record mode, you can move the cursor to the Length 
(Ln) field and change the length of the pattern at that step. Length- 
ening a pattern will cause it to loop. Shortening a pattern will truncate 
the playback to the selected length. 

Deleting a Pattern 

10. Pressing the Erase button (located below the controller knobs) erases 
the currently selected step from the song. 

Inserting a Pattern 

11. You can insert a pattern at any bar of the song. Select the insert point 
by moving the cursor beneath the Step Number or the Bar field. 

12. Select the pattern you wish to insert, press and hold the Repeat button 
(located below the controller knobs), then press Enter. The new pattern 
will be inserted at the selected bar location. 

Inserting Track Mutes 

13. You can set the Track Mutes for each step in the song by simply 
selecting them. Track mutes are selected at the beginning of each step. 

Stop the Song 

14. Turn the data entry control counter-clockwise until you find the 
STOP command. This will be the last step of your song. 

Time to Save? 

15. Changes are not made permanent until you Save the song. An asterisk 
will appear in the Song display if the Songs has been modified and 
needs to be saved. The Save/Copy button LED will also be flashing. 

Press Save/Copy, scroll to the Save Song screen, select a location and 
press Enter. 



Proteus 2500 Operation Manual 93 



Sequencer 
Song Mode 



^> 



The 1 6 tracks of a song 
can be assigned to either the A 
or B channels using the "Song 
Channel Assign " function on 
page 108. 



Realtime Song 
Recording 



The following parameters are also saved with the Song. Set these param- 
eters, then save the song again if you wish. The "Event Source" option in 
the Song Edit menu (page 97) determines whether song or pattern events 
will be used in the song. 

• Initial Tempo 

• Volume for 16 channels 

• Pan for 16 channels 

• Mix Output setup for 16 channels 

• Arp channel status (off/on/preset/master) for 16 channels 

• Master FX setup 

• Event Source 



Realtime Song Recording lays down a single track which may contain 
multichannel: note, program change and controller data (but no SysEx). 
Realtime data will retain its recorded channel information so you can lay in 
multichannel note and controller information. Multiple channel infor- 
mation received over MIDI will also be recorded. 

► To Record a Song in Realtime mode: 
1. Press the Song mode button. The screen shown below appears. 



Song Tempo 
(if song events selected) 



Song Meter 
(for metronome) 



Current Location 



J:150 M: OM / M 
000° Start of IT 



Bar: 001 . 1 



Song Name 

Select a Blank song to begin recording using the data entry control. 

Press the Record button once to select Realtime Record mode. The 
Realtime record LED illuminates and the screen shown below appears. 
If you have already step recorded any pattern inserts, their numbers will 
appear on the lower line of the display. 

Set the metronome to On or Rec if you want a timing reference. 



94 E-MU Systems 



Sequencer 
Song Mode 



&6 

Too much controller 
information can clog the 
sequencer causing sluggish 
performance and sloppy timing. 
Use the "Thin Events" function 
(page 101) to reduce the 
amount of controller data in the 
song. 



X) Use the "Erase cc# 
Events" function (page 102) to 
erase controller data from the 
song. 



Song Tempo 



Current Location 



J:130 -- 
Quan: off 



REC - - - Bar: 001 . 1 
Met: rec Cntln: 



Auto- 
Correct 



Metronome 
on/off/rec 



Count-in 
Bars 



5. Press the Play button to begin realtime recording. As in Pattern Record 
Mode, the Record button can be pressed at any time to disable 
recording. Similarly the Play button can be pressed while recording to 
affect a "record-pause" mode. 

To Erase Specific Notes: 

6. Press the Erase button in Realtime Record mode and hold down the 
keyboard note you wish to erase. The note will be erased when it 
comes around in the pattern. 

► To Overdub Realtime Controller Data over Patterns 

This may be the most common way to use Realtime Song mode. After 
arranging your song using step record mode, you can mix and embellish 
your song by recording continuous controllers over the top. You might also 
want to add additional musical lines over your patterns. 

1 . Start by recording and saving a song by following the instructions on 
page 92. 

Volume Mixing 

2. Press Song Edit and scroll to the Event Source page. 

3. Move the cursor to the lower line and select "volume: song events 
only". 

4. Press Song Edit again to exit the menu. 

5. Select Volume knob mode by repeatedly pressing the Controller 
Function Select button (page 37). 

6. Select Mix View mode if you wish to view the volume settings. 

7. Press the Stop button twice to make sure the song starts at the 
beginning. 

8. Press the Record button in Song mode to get ready to record. The Play 
button LED will be flashing. 

9. Press the Play button to begin recording. The controller knobs now 
adjust the volumes of all 16 tracks. 

10. Press Stop when you're finished recording. 



Proteus 2500 Operation Manual 95 



Sequencer 
Song Mode 



Realtime Panning 

11. Select Pan Knob mode by pressing the Controller Function Select 
button. 

12. Select Mix View mode by pressing the Mix button (if it's not already 
selected). 

13. Turn the data entry control clockwise to select Ch Pan view. 

14. Press the Stop button twice to make sure the song starts at the 
beginning. 

15. Press the Record button in Song mode to get ready to record. The Play 
button LED will be flashing. 

16. Press the Play button to begin recording. The controller knobs now 
adjust the pan positions of all 16 tracks. 

17. Press Stop when you're finished recording. 

Recording Quick Edits 

The Quick Edit knobs always record on the Basic Channel (the channel 
currently displayed in the Preset View screen). 

18. Select Quick Edit mode by pressing the Controller Function Select 
button. 

19. Select the channel with the preset you wish to Quick Edit. 

20. Practice your knob movements before recording by playing back the 
song and twisting the knobs. 

21 . When you're ready to record, press Record, then Play, then perform 
the knob movements. 

► Erasing Controller Data 

1. The Erase Events function (page 102) can be used to erase controller 
data. 

2. Find the realtime controller # of the knob you wish to erase in the 
Controllers menu. 

(Volume is always cc#7 , and Van is always cc#10. The numbers of the 16 
controller knobs can vary.) 

3. Press the Song Edit button. 

4. Scroll to Erase Events and move the cursor to the lower line of the 
display. 

5. Select the realtime controller number from step 2. 

6. Press Enter to erase the controller data. 



96 E-MU Systems 



Sequencer 
Song Edit Menu 



Song Edit 
Menu 



Song Name 



Event Source 



>0 When you save a 
sequence (song or pattern) it 
picks up the current settings and 
saves them at the head of the 
track. 



The Song Edit menu allows you to name and edit songs as well as control 
which controller data will be used when the song is played. 

The Song Edit button is DISABLED unless you are in Song Mode. 

A Proteus 2500 Song is a one track sequence of any length. Pattern Play 
events will typically be recorded into a song so that specific patterns will 
begin playing at specific bar locations (only one pattern can play at a time). 
Note-on/off, controller and program change information can also be 
recorded into the Song track. 

Songs can be named with up to 16 characters. Position the cursor under the 
character location and use the data entry control to change the character. 



SONG NRME 
Blue Beats 



This function determines how certain controls programmed into the 
pattern will be used in the song. 

Event Source is a playback filter. Realtime Song data will be recorded 
regardless of the Event Source settings, but it might be confusing if you 
don't hear what you just recorded. Therefore, it's always a good idea to 
check the Event Source settings before recording realtime song data. 

• Tempo 

• Preset (program change) 

• Volume 

• Pan 

• Mix 

• Arp 

• Master Effects (FX) 

For each type of control listed above, you can choose one of these options: 

• Song Events Only Uses song events; ignores pattern events 

• 1st Pattern Only Uses events from the 1st pattern; ignores song events 

• All Patterns Uses the events programmed into each pattern 

• Song & Patterns Uses both song and pattern events 

The song and pattern option makes the song track extremely flexible 
because the song track can be used for volume mixing, realtime control or 
lead lines over a traditional pattern-based song structure. The song and 
pattern option also allows presets to be selected correctly when using 
channels 1B-16B for song events. 



Proteus 2500 Operation Manual 97 



Sequencer 
Song Edit Menu 



Setting Meter 
(lime Signature) 



► To Set the Event Sources for a Song: 

1 . Select the Song you wish to edit in Song mode. 

2. Press the Song Edit button. 

3. Scroll to the Event Source screen shown below using the data entry 
control. 



EVENT SOURCE 

tempo: song events only 



4. Select: Song Events Only, First Pattern Only, All Patterns, or Song & 
Patterns for each event type. 

5. Press the Song Edit button again to exit the module. 

Proteus 2500 allows you to set almost any conceivable time signature. The 
numerator (indicating number of beats in a measure) can be set from 1 to 
99. The denominator (indicating the rhythmic value of each beat) can be 
set to 1, 2, 4, 8, 16, 32, or 64. The time signature can be changed at any 
time before or after recording. 

The meter setting affects the bar:beat display, the pattern length, 
metronome accent, and the grid recording display. 

For more information about Time Signatures, see page 311. 

► To Set the Time Signature: 

1. Select the song in which you want to record in Song mode. 

Press the Song Edit button. The Song Edit menu screen displays the 
menu page most recently selected since powering up Proteus 2500. 

Scroll to the Meter screen using the data entry control. The meter 
setting will probably show the 04/4 default time signature. 



2. 



3. 



METER 
04 / M 



METRONOME 
off 



VRLUE 
1/8 



4. Press the right cursor button once to move the cursor underneath the 
numerator field. 

5. Set the time signature numerator value using the data entry control. 

6. Press the right cursor button again to move the cursor underneath the 
denominator field. 

7. Set the time signature denominator value using the data entry 
control. 

8. Press the Song Edit button again to exit Song Edit mode. 



98 E-MU Systems 



Sequencer 
Song Edit Menu 



Metronome 



\ 



Play the pattern to listen 
to the Metronome while you set 
the Value. 



Quantize 



The metronome is a timing aid when recording or playing back songs and 
can be set to a wide variety of different beats. The metronome produces an 
accented click on the first beat of each measure and a softer click on other 
beats. The metronome beat options are listed on page 70. 

The metronome setting is NOT saved with the Song. 

► To Set the Metronome: 

1 . Press the Song Edit button. The Pattern Edit menu screen displays the 
menu page most recently selected since powering up Proteus 2500. 

2. Scroll to the Metronome screen using the data entry control. 



METER 
04 / M 



METRONOME 
off 



VRLUE 
1/8 



3. Move the cursor underneath the Metronome field and turn the 
metronome to On, Off or Rec using the data entry control. 

• Off - the metronome doesn't play. 

• On - the metronome plays during recording and playback. 

• Rec - the metronome only plays while recording. 

4. Move the cursor underneath the Value field and set the metronome 
beat value using the data entry control. 

The timing of note events can be changed after a song has been recorded. 
Quantize moves all the note start times in the track to fall on (or closer to) 
the specified time values. See "Quantize" on page 71 for more information 
about quantization. 

Note: This filter quantizes note data recorded in Realtime Song mode. It 
does NOT affect the notes in Patterns. 

► To Quantize Note Events in a Song: 

1 . Select the song. 

2. Press the Song Edit button. 

3. Scroll to the Quantize screen using the data entry control. 



QURNTIZE Resolution: 16 
Rmount: 75% Swing: 50% 



4. Set up the Quantize parameters as desired. The Home/Enter LED will 
be flashing once the cursor is moved to one of the editable fields. 

5. Press Enter to Quantize or add Swing. Press any other button to Cancel. 



Proteus 2500 Operation Manual 99 



Sequencer 
Song Edit Menu 



Scale/Shift Duration 



\ 



Tip: To set all notes to a 
particular value, set Scale to 0%, 
(this zeros the value) then set 
Shift to the desired duration. 



This filter allows you to either scale (multiply by a value) or shift (add a 
value to) the note durations in the song track. The Scale function is 
performed before the Shift value is added. 

Scale - Multiplies all note durations by a percentage from 0% to 125%. 
Scaling by 100% would leave all note durations untouched. 
Scaling by 50% would cut all note durations in half. 

Shift - Adds or subtracts a specific note duration in beats and ticks to 
note-on events in the selected tracks. 

► To Scale or Shift Note Duration: 

1 . Select the song you wish to edit. 

2. Press the Song Edit button. 

3. Scroll to the Scale/Shift Note Duration screen shown below using the 
data entry control. 



5CRLE/5HIFT NOTE DURRTION 
Scale: 87% Shift: +00.000 



Beats 



Ticks 



4. Select the amount of note duration scaling or shift. The Home/Enter 
LED will be flashing once the cursor is moved to the lower line of the 
display. 

5. Press Enter. Select a key range for filtering. The default setting is all 
keys. 



SELECT TRRCKS 

Key Range: C-2 to:G8 



Low Key 



High Key 



6. Press Enter to scale/shift the note durations. Press any other button to 
Cancel the operation. 



100 E-MU Systems 



Sequencer 
Song Edit Menu 



Thin Events 



Event thinning is usually performed to reduce the amount of extraneous 
controller data and thus reduce the memory size and microprocessor load. 
This filter reduces the number of events in a musical fashion. The setting 
represents the smallest change that will be kept. See page 74 for more infor- 
mation. The filter also keeps change in direction values. 

Note: This filter thins note and controller data recorded in Realtime Song 
mode. It does NOT affect Pattern data. 

The following types of events can be thinned: 

• Tempo 

• Poly Aftertouch 

• Channel Aftertouch 

• Pitch Wheel (Touchstrip) 

• Any Continuous Controller (1-95) 

► To Thin Events from a Song: 

1 . Select the song you wish to edit. 

2. Press the Song Edit button. 

3. Scroll to the Thin Events screen shown below using the data entry 
control. 



THIN EVENTS 

chan aftertouch Rmt: MO 



4. Select the type of event you want thinned, then set the amount of 
thinning. The Home/Enter LED will be flashing once the cursor is 
moved to one of the editable fields. 

5. Press Enter. Select a key range for thinning. The default setting is all 
keys. 



SELECT KEY RRNGE 

Key Range: C-2 to:G8 
,z \ 



Low Key 



High Key 



6. Press Enter to thin events. Press any other button to Cancel the 
operation. 



Proteus 2500 Operation Manual 101 



Sequencer 
Song Edit Menu 



Erase Events 



Specific types of events can be completely erased from a song. 

Note: This filter erases event data recorded in Realtime Song mode. It does 
NOT affect Pattern data. 



Events that can be Erased 

Notes 

Program Changes 

SysEx Data 

Meter 

Any Continuous Controller (1 -95) 



Tempo 

Poly Aftertouch 
Channel Aftertouch 
Pitch Wheel 



► To Erase Events from a Song: 

1 . Select the song you wish to edit. 

2. Press the Song Edit button. 

3. Scroll to the Erase Events screen shown below using the data entry 
control. 



ERR5E EVENTS 
program change 



4. Select the type of events you want erased. The Home/Enter LED will be 
flashing once the cursor is moved to the lower line of the display. 

5. Press Enter. Move the cursor to the lower line to select a key range for 
erasure. The default setting is all keys. 



SELECT KEY RRNGE 
Key Range: C-2 to:G8 



¥- 



Low Key 



High Key 



6. Press Enter to erase the events. Press any other button to Cancel the 
operation. 



102 E-MU Systems 



Sequencer 
Song Edit Menu 



Transpose 



All notes in a song can be transposed up or down from -127 to +127 
semitones. For example with a setting of +7, all notes in the song would be 
transposed up a perfect fifth. 

Note: This filter transposes note data recorded in Realtime Song mode. It 
does NOT affect notes recorded into Patterns. 

► To Transpose Notes in a Song: 

1 . Select the song you wish to edit. 

2. Press the Song Edit button. 

3. Scroll to the Transpose screen using the data entry control. 



TRRN5P05E 
+7 semitones 



4. Select the amount of transposition you want. The Home/Enter LED 
will be flashing once the cursor is moved to the lower line of the 
display. 

5. Press Enter. Move the cursor to the lower line to select a key range to be 
transposed. The default setting is all keys. 



SELECT KEY RRNGE 

Key Range: C-2 to:G8 
j. x 



High Key 



Low Key 



6. Press Enter to transpose the pattern. Press any other button to Cancel 
the operation. 



Proteus 2500 Operation Manual 103 



Sequencer 
Song Edit Menu 



Scale/Shift Velocity 



X 



Tip: To set all notes to a 
particular value, set Scale to 0%, 
(this zeros the value) then set 
Shift to the desired duration. 



This filter allows you to either scale (multiply by a value) or Scale (add a 
value to) the velocity values of notes in a song. The Scale function is 
performed before the Shift value is added. 

Scale - Multiplies all note-on velocities by a percentage from 0% to 
125%. Scaling by 100% would leave all velocity values 
untouched. Scaling by 50% would cut all velocity values in half. 

Shift - Adds or subtracts a specific velocity value (-127 to +127) to 
every note-on event in the song. 

Note: This filter scales velocity data recorded in Realtime Song mode. It 
does NOT affect the velocity values of Pattern data. 

► To Scale or Shift Velocity: 

1 . Select the song you wish to edit. 

2. Press the Song Edit button. 

3. Scroll to the Scale/Shift Velocity screen shown below using the data 
entry control. 



5CRLE/5HIFT VELOCITY 
Scale: 87% Shift: +0 



4. Select the amount of velocity scaling or shift. The Home/Enter LED 
will be flashing once the cursor is moved to the lower line of the 
display. 

5. Press Enter. Move the cursor to the lower line to select a key range to be 
velocity scaled or shifted. The default setting is all keys. 



SELECT KEY RRNGE 
Key Range: C-2 to:G8 



^ 



Low Key 



High Key 



6. Press Enter to change velocity in the song. Press any other button to 
Cancel the operation. 



104 E-MU Systems 



Sequencer 
Song Edit Menu 



Cut Track to 
Clipboard 



x 



Cut track can be used as 
a way to erase a track. 



% 



The Track Number 
cannot be changed in a Song 
since there is only one track. 



A section of the a track can be cut or copied and held on a digital 
"clipboard" so that it can be pasted into another location in the track. The 
clipboard contents will be held until replaced with another cut or copy 
operation, or the power to Proteus 2500 is turned off. Cutting a section 
from a track will leave a blank space in the Song. 

Pattern Play events are NOT affected by the cut operation. Pattern play 
events must be edited using Step Record. 



Cut 




Song Track 



The cut section is placed on the clipboard leaving a blank space 
in the song track where the data was cut out. 

► To Cut a Section of the Song Track: 

1 . Select the song you wish to edit. 

2. Press the Song Edit button. 

3. Scroll to the Cut Track to Clipboard screen shown below using the 
data entry control. 



CUT TRRCK TO CLIPBORRD 
Track: 1 Bar:0M Len:07 



4. 



5. 



Select the Start Bar and the Length (in bars) to be cut. The Home/Enter 
LED will be flashing once the cursor is moved to the lower line of the 
display. 

Press Enter to cut the track. Press any other menu button to Cancel the 
operation. 



Proteus 2500 Operation Manual 105 



Sequencer 
Song Edit Menu 



Copy Track to 
Clipboard 



% 



The Track Number 
cannot be changed in a Song 
since there is only one track. 



A section of a track can be copied and held on a digital "clipboard" so that 
it can be pasted into another location on the song track. This function 
makes a digital copy of the track and places it on the clipboard, where it 
will be held until it is replaced with another cut or copy operation, or the 
power to Proteus 2500 is turned off. The copied Paste functions. 

Pattern Play events are NOT affected by the copy operation. Pattern play 
events must be edited using Step Record. 



Copy 




Song Track 



Clipboard 



The copied section is placed on the clipboard leaving the song 
track intact and untouched. 

► To Copy a Track: 

1. Select the pattern you wish to edit. 

2. Press the Pattern Edit button. 

3. Scroll to the Copy Track to Clipboard screen shown below using the 
data entry control. 



COPY TRRCK TO CLIPBORRD 
Track: 1 Bar:06 Len:07 



4. Select the Start Bar and the Length (in bars) to be copied. The Home/ 
Enter LED will be flashing once the cursor is moved to the lower line of 
the display. 

5. Press Enter to copy the track. Press any other menu button to Cancel 
the operation. 



106 E-MU Systems 



Sequencer 
Song Edit Menu 



Paste Clipboard to 
Track 



\ 



Tracks can be freely cut, 
copied and pasted between 
songs and patterns. 



% 



The Track Number 
cannot be changed in a Song 
since there is only one track. 



&6 

You will not hear the 
results of the Paste operation 
until the sequence cycles around. 
(Hint: Press RTZ) 



Once a track or track section has been cut or copied to the clipboard, it can 
it can be pasted into another location on the song track from 1 to 99 times. 
The Paste operation Merges the clipboard data with the data on the desti- 
nation track at the selected bar position. This feature allows you to "bounce 
down" multiple tracks to a single multichannel track. See below. 

Pattern Play events are NOT affected by the Paste operation. Pattern 
play events must be edited using Step Record. 



Specified 
Bar 



Paste 



I 



■■I ■!■■ ■ 



Hi !■ III I ■!■ 



Song Track 




^TT7 



Clipboard 



Paste x3 



Specified 
Bar 



i 




1 1. 1 1 1 .i nil i ■ lli I ■!■ i ill nil I li I ■!■ i 1 1 I ■ i ill nil I I 

1 2 3 

Total Extension = 6 bars 






2-bars 
Li I i I 



Clipboard 



► To Paste the Clipboard into a Track: 

1. Select the pattern you wish to edit. 

2. Press the Pattern Edit button. 

3. Scroll to the Paste Clipboard to Track screen shown below using the 
data entry control. 



PR5TE CLIPBORRD TO TRRCK 
Track: 1 Rt Bar:06 X:1 



4. Select the bar where the clipboard contents will be pasted. 

5. Select the number of times you want the clipboard data pasted. 

6. Press Enter to paste the data. Press any other menu button to Cancel 
the operation. 



Proteus 2500 Operation Manual 107 



Sequencer 
Song Edit Menu 



Song Channel Assign 



&6 

Important Note: 

Program change messages are 
NOT transmitted externally if 
the destination is set to Both. To 
transmit program changes to 
external MIDI devices, set the 
destination to External (EXT). 



This screen allows you to assign the song track to channelslA-16A, or 1B- 
16B, or to MIDI Out port A. The song track can be routed to: internal MIDI 
channels (either A or B), the external MIDI port, both, or none. Multi A is 
routed to MIDI port A if "ext" or "both" is selected as a destination. 
Selecting "None" disables playback. 



SONG CHRNNEL R55IGN 
Channel: MultiR Dest:both 



► To Assign the Song Track to the A or B channels: 

1. Press the Song Edit button. 

Scroll to the Song Channel Assign screen shown above using the Data 
Entry control. 

Select MultiA if you want the song track to go to channels 1 A-16A or 
MIDI port A. Select MultiB if you want the song track to go to channels 
1B-16B. 

4. Select the desired destination for the track (internal channels, external 
MIDI channels, both, or none). 

5. Press the Song Edit button again to exit the module. 



2. 



3. 



Track 



Channel 



Destination 



'1 OUT A 










QoUTA 


Track 

2 




Chan 
2A 




W | . | I 



















Multiple 
Channels 




f^OUTA 


Track 
3 




Multi 
A 






Internal 1 


fe» 








Track 
16 



Intern 



3 



108 E-MU Systems 



Sequencer 
Song Edit Menu 



Note List Editor 



\ 



You can edit notes and 
note velocity by playing the 
keyboard. 



Individual MIDI notes in the song can be edited, inserted or deleted from 
this screen. Place the cursor underneath the "Event Scroll Field" shown 
below and turn the data entry control to navigate through events. 

• Hold the Enter button and turn the data entry control to scroll through 
events when the cursor is on any other field 



Track 01 

rV 



Event Scroll Field 

(scroll though events) 



Time Location 



# 



T 01 NOTE < > 
C01 C#l v:100 



002.03.008 
dur:00.083 



MIDI 
Channel 



*? 



* 



MIDI 
Note 



Note 
Velocity 



Note 
Duration 



• Erase button Erases the currently selected event. 

• Repeat button Duplicates the currently selected note, allowing you 

to edit and create a new note. 

1) Press Repeat. 

2) Change the time, channel, or MIDI note. 

Note: You cannot have two events with the exact same time and data in 
a song. Proteus 2500 will delete any duplicate events as soon as you 
increment the event or exit the screen. 

► To Edit a MIDI Note: 

1 . Select the song you wish to edit. 

2. Press the Song Edit button. 

3. Scroll to the Note List Editor screen shown below using the data entry 
control. 

4. Press the Enter button as prompted by the display to begin editing. 



T 



01 NOTE <-> 
C01 C#l v:100 



002.03.008 
dur:00.083 



5. Press the right Cursor button to move the cursor underneath the Event 
Scroll Field (<->). 

6. Turn the data entry control to scroll through the event list and locate 
the event you want to edit. 

7. Move the cursor to the data field you want to edit and make changes 
using the data entry control. 

8. Press the Song Edit button to exit the Song Edit module. 



Proteus 2500 Operation Manual 109 



Sequencer 
Song Edit Menu 



Event List Editor 



Continuous controller, pitch wheel, mono pressure, poly pressure and 
program change MIDI messages can be edited, inserted or deleted using this 
menu. Place the cursor underneath the "Event Scroll Field" shown 
below and turn the data entry control to navigate through events. 

The event list editor also allows you access to the Conductor Track which sets 
the tempo and meter for the pattern. 

Hold the Enter button and turn the data entry control to scroll through 
events when the cursor is on any other field. 

• Erase button Erases the currently selected event. 

• Repeat button Duplicates the currently selected event, allowing 

you to edit and create a new event. 

1) Press Repeat. 

2) Change the time, channel, or MIDI event. 

• Note: You cannot have two events with the exact same time and data in 
a pattern. Proteus 2500 will delete any duplicate events as soon as you 
increment the event or exit the screen. 

Continuous Controller Edit 

Continuous controller numbers 1-95 can be edited. Continuous controllers 
and Channel Pressure messages may range in value from 0-127. 

Continuous Controller Screen 



Track 01 



Event Scroll Field 

(scroll though events) 



Time Location 



+ 



T 01 EVENT <-> 002.03.008 
C01 controller #1 v:52 



MIDI 
Channel 



Event 
Type 



t 



* 



Controller 
No. Field 



Event 
Value 



Pitch Strip Edit 

Pitch Wheel messages are bidirectional and may range in value from -8192 
to +8191. 



Pitch Strip Screen 



T 01 EVENT <-> 
C01 pitch strip: 



002.03.004 
-M9 



Bidirectional Pitch Value 



110 E-MU Systems 



Sequencer 
Song Edit Menu 



Poly Pressure Edit 

Polyphonic pressure messages are assigned on a per not basis and have 
range of 0-127. Proteus 2500 cannot receive poly pressure messages. 



Poly Pressure Screen 



T 01 EVENT <-> 
C01 polypress: 



002.03.004 
CI 62 



^ 



MIDI 
Note 



Poly Pressure 
Value 



Program Change Edit 

Program change numbers from 0-127, and on any bank number, can be 
inserted, deleted or edited in this screen. If you do not select bank numbers 
(off), the program change will be sent to the currently selected bank. See 
"Bank Select Commands" on page 174. 

Program Change Screen 



T 01 EVENT <-> 
C01 prog: 10 



003.02.026 
m:off I: off 



^ 



^ 



^F 



Program 


Bank 


Bank 


Change 


Number MSB 


Number LSB 


Number 


cc:0 


cc.32 



► To Edit a MIDI Event: 

1. Select the pattern you wish to edit. 

2. Press the Pattern Edit button. 

3. Scroll to the Event List Editor screen shown below using the data entry 
control. 

4. Press the Enter button as prompted by the display to begin editing. 



T 01 EVENT <-> 002.03.008 
C01 controller #1 v:52 



5. Press the right Cursor button to move the cursor underneath the Event 
Scroll Field (<->). 



Proteus 2500 Operation Manual 1 1 1 



Sequencer 
Song Edit Menu 



Revert to Saved Song 



Caution: Never "Revert 
to Saved" while the sequencer is 
in record mode or the computer 
may crash. 



6. Turn the data entry control to scroll through the event list and locate 
the event you want to edit. 

7. Move the cursor to the data field you want to edit and make changes 
using the data entry control. 

8. Press the Pattern Edit button to exit the Pattern Edit module. 



This screen allows you to discard any edits made to the song and restore the 
last saved version. This is not the same as an "Undo" function since Revert 
permanently discards any edits you have made since saving. This function 
removes the asterisk in the display that appears after you've edited the 
song. 



REVERT TO 5RVED SONG 
000° Patterns 0-9 



112 E-MU Systems 



Sequencer 
Connection Example 



Connection 
Example 



Using the Internal 
Sequencer with an 
External MIDI 
Keyboard 



^ 



If Channel Assign in the 
song/pattern edit menu is set to 
to external or both, you'll get 
duplicate MIDI data if steps 2 & 
3 in the setup are not set to Off. 



The internal architecture has been changed in this software revision. These 
examples will help you with some common setups. When you have a 
working setup, it's a good idea to save and name the Multisetup to preserve 
your work. 

In this setup, an external MIDI keyboard transmitting on a single MIDI 
channel is used to record into the internal sequencer. This demonstrates the 
new Rechannelize Input feature which frees you from changing the MIDI 
channel of your controller keyboard. 



Sound Module 



Sound Module 



MIDI Keyboard 




MIDI 




* 



Proteus 2500 



► Setup the Following Controls: 

1. RECHANNELIZE INPUT (MIDI) - always 

2. KEYBOARD OUTPUTS MIDI (MIDI) - don't transmit 

3. KNOBS OUTPUT MIDI (MIDI) - don't transmit 

4. MERGE MIDI IN TO OUT (MIDI) - Out A: off, Out B: off 

5. LOCAL CONTROL (Controllers) - on 

6. Save and Name the Multisetup. (Global) 

Optional Steps: 

7. TRIGGERS (Controllers) - Seq 

(If you want to record them into the sequencer.) 

8. PROGRAMMABLE KNOBS (Controllers) - Seq 
(If you want to record them into the sequencer.) 



Proteus 2500 Operation Manual 1 1 3 



Sequencer 
Connection Example 



► To Record a Sequence: 

1. Select an empty pattern or song. 

2. Press Preset View and select a preset for your first track. 

3. Press Record, then setup the Quantize, Metronome and Length 
parameters. 

4. Press Play to begin recording. Recording begins after the count-in 
period (if any). If you're recording into a Pattern it will loop when it 
reaches the end of its length. 

To Record another Track 

5. Press the Track button to the left of the LCD to increment the track 
number. 

6. Press Preset View and select a preset for the next track. 

7. Press the Stop button twice to return to the beginning of the song or 
pattern. 

8. Press Record, then Play to begin recording. 

9. Repeat steps 5 through 8 to continue laying down tracks. 

► Optional: Recording Tracks to control an External Sound Module 

The diagram on page 113 shows two external sound modules connected. 
The channel assignment screen controls the routing of sequencer tracks 
to internal and external MIDI channels. 

1. Set CHANNEL ASSIGN (Song/Pattern Edit) - Destination - ext 



T 08 CHRNNEL R55IGN 
Channel: 08R Dest: ext 



2. Set the MIDI channel as desired for the external sound module. 

Channels 01A-16A go to the "A" MIDI port; channels 01B-16B go to the 
"B MIDI port. 



114 E-MU Systems 



Controllers Menu 



The Controllers menu contains functions related to the keypad, knobs or 
trigger buttons of Proteus 2500. For example, the programmable knobs and 
triggers are programmed in this menu. All Controllers menu data is saved 
with the Multisetup. See page 124 for more information about Multisetups. 

► To enable the Controllers menu 

Press the Controllers button, lighting the LED. The Controllers Menu 
screen displays the menu page most recently selected since powering up 
Proteus 2500. The cursor appears below the first character of the screen 
heading on line one. 

► To select a new screen 

Press the Home/Enter button or press the Cursor button repeatedly until 
the cursor is below the screen title heading. Rotate the data entry control to 
select another screen. 

► To modify a parameter 

Press either Cursor button repeatedly (or hold down the right cursor button 
while turning the data entry control) until the cursor is below the desired 
parameter value. Rotate the data entry control to change the value. 

► To return to the previously selected Mode/View screen 

Press the Controllers button, turning off the LED. 



Proteus 2500 Operation Manual 1 1 5 



Controllers Menu 
Keyboard Transpose 



Realtime 

Control 

Functions 

Keyboard Transpose 



Keyboard Channel 



>0 in Quick Edit mode the 
front panel knobs only control 
the "Basic Channel". 



Local Control On /Off 



This section describes how set up the Realtime Controllers on Proteus 2500. 
Realtime Controllers are performance controls such as the controller knobs, 
velocity-sensitive keypads, and trigger buttons. 



This option allows you to offset the transposition of the keyboard in 
semitone intervals. This is allows you to easily play in different keys with 
the one octave keypad and lets you access different groups of instruments 
in a drum map. The transpose range is +36 semitones. 



KEYBORRD TRRN5P05E 
+00 semitones 



This option allows you to select which channel is controlled by the front 
panel knobs. You can select any of the 32 channels or "Basic". The "Basic" 
channel is the normal connection. With Basic selected, the knobs always 
control the preset showing in the Preset View screen. 



KEYBORRD CHRNNEL 
Channel: Basic 



Local Control is used to disconnect the controllers (knobs, footswitches) 
from the sound generating section. Even though disconnected from the 
internal synthesizer, the controllers are still transmitted over MIDI. Local 
Control is normally turned Off when recording into an external MIDI 
sequencer (set sequencer to Echo Thru). Played data and recorded data are 
merged in the computer sequencer and then sent back to the module. This 
feature can also be used if you want to control another MIDI sound 
generator from the knobs without playing internal sounds. 



LOCRL CONTROL 
on 



CHRNGE 
ignored 



MIDI local control mode change messages can either be accepted or 
ignored depending on the setting of the change field. With this set to 
"ignored", an incoming command to turn local control on or off would be 
ignored 



116 E-MU Systems 



Controllers Menu 
Footswitch Jack Function 



Footswitch Jack 
Function 



KYBD Data 



MIDI Out 



Sequencer & KYBD Data 




z> 



Echo 
Thru 



Computer Sequencer 



ts. 


—-—„ Ha 


(0 


<3 "o" •-©• 




* '•' * ¥ 




*MIIl'* 




o o o o 


n ® 


□ □ □ en 



c -■' 



1 f MIDI In 

M 




ej.q o 




Turning Local Control Off allows you to use the Echo Thru feature on your sequencer 
while sequencing. In conjunction with Echo Thru, Local Control Off allows you to record 
into the external sequencer and hear the correct control data whether you are recording 
or playing back the sequence. 



The two footswitch jacks on Proteus 2500's rear panel can be programmed 
to perform a variety of functions. The footswitch jacks are designed to 
accept momentary footswitches which connect the tip and ring. Proteus 
2500 senses either normally-on or normally-off switches on power-up. 

Each footswitch can be independently programmed. The following 
functions can be controlled via the footswitches. 



FOOTSWITCH JRCK FUNCTION 
1: MIDI FtSuu 2: Tap Tempo 



MIDI Footswitch 



Play/Stop 



Play 



In this mode the footswitch is routed to the Patch- 
Cord in the Preset Edit, Cords menu. (See pages 207 
and 214.) It is also transmitted out on the Foot- 
switch Controller number as programmed in the 
Controllers menu. (See page 122.) 

Pressing the footswitch once activates the Play 
button on the front panel. Pressing the footswitch 
again activates the front panel Stop button. 

Pressing the footswitch activates the Play button on 
the front panel. This works well in combination 
with the following function. 



Proteus 2500 Operation Manual 1 1 7 



Controllers Menu 
Trigger Buttons Function 



Trigger Buttons 
Function 



Stop/RTZ 



Punch I/O 



• Tap Tempo 

• Channel + 

• Channel - 

• Sequence + 

• Sequence - 



Pressing the footswitch activates the front panel 
Stop button. Pressing the footswitch again invokes 
the Return-to-Zero function. 

When the sequencer is playing, the footswitch will 
activate the Record button in order to punch-in to 
record mode. Pressing the footswitch again will 
punch-out of record. 

When the sequencer is stopped, repeatedly pressing 
the footswitch cycles through the three record 
modes: realtime, grid & step record. 

Pressing the footswitch activates the front panel Tap 
button, allowing you to tap in the current tempo 
with your foot. 

Pressing the footswitch increments the MIDI 
channel number. 

Pressing the footswitch decrements the MIDI 
channel number. 

Pressing the footswitch increments the current 
pattern or song number. The next pattern will begin 
playing when the current pattern ends. 

Pressing the footswitch decrements the current 
pattern or song number. The next pattern will begin 
playing when the current pattern ends. 



This option selects the function of the front panel "Triggers" button. The 
"Triggers" button can be used either to Play Beats Parts or to Play Note 
Events. 



Play Beats Parts 



Play Note Events 



In this mode and when the Triggers button is 
selected, the sixteen command buttons turn Beats 
parts on and off. 

In this mode and when the Triggers button is 
selected, the sixteen command buttons work like 
keyboard notes. Each button can be assigned to any 
MIDI note, on any MIDI Channel (01-16), with any 
velocity (0-127), and can be set to be latched or 
momentarily on. 



TRIGGER BUTTONS FUNCTION 
Play Note Events 



118 E-MU Systems 



Controllers Menu 
Trigger Buttons 



Trigger Buttons 



\ 



Use the Trigger Button 
Key Velocity to adjust the volume 
of Beats relative to volume of the 
Pattern or Song. 



\ 



Trigger button 
presses can be recorded 
into patterns and songs. 



\ 



Latched buttons are 
especially useful for triggering 
arpeggiated presets. 



Select Triggers mode by pressing the mode select button so that the 
"Triggers" LED is illuminated. Now the 16 buttons work like keyboard 
notes. Each of the 16 buttons can be assigned to any MIDI note, on any 
MIDI Channel (01A-16B), with any velocity (0-127), and can be set to be 
latched or momentarily on. Latched notes will hold until the button is 
pressed again. Latched notes will be indicated by the LEDs. Each trigger can 
also be routed to: the internal synth engine, to the MIDI ports, both 
internal and MIDI, or to the sequencer input. 

Simply move the cursor from the "TRIGGERS" field and play a note to enter 
the MIDI key and velocity. Pressing a Trigger Button anytime while in this 
screen automatically selects that trigger button for programming! 



See the block diagram showing "Triggers & Programmable Knobs" 
page 314 for detailed information about the actual routing path. 



on 



Trigger Button Select 



MIDI Key Key Velocity 



T1 TRIGGERS D3 Vel: 127 
Latch:off Ch: 01R seq 



Latch on/off MIDI Channel 



Destination 



2. 
3. 
4. 



► To Setup the Trigger Buttons 

1. Press the Controllers button. Its LED will illuminate. 

Turn the data entry control to select the "TRIGGERS" screen. 

Use the left/right cursor controls to select the fields shown above. 

Select the MIDI key, the MIDI channel, the Velocity, Latch on/off and 
destination for each of the 16 trigger buttons. 

5. Save the Multisetup if you want to save these settings. See page 125. 

► To Play the Trigger Buttons 

1. Press the Mode button so that the Triggers LED illuminates. 

2. Play the Trigger buttons. 



Proteus 2500 Operation Manual 119 



Controllers Menu 
Programmable Knobs 



Programmable 
Knobs 



\ 



Turning a knob while in 
this screen automatically selects 
that knob for programming! 



Knob Preset 
Quick-Edit 



If this parameter is set to "Ext," or "Both," the system sends MIDI controller 
messages when you turn the Controller knobs. If set to External, the knobs 
do NOT control internal synth parameters and only used as external MIDI 
controllers. When the programmable knobs are routed to "Seq" they can be 
recorded into the internal sequencer. 

Each knob can be programmed to send on any MIDI channel (01A-16B) 
and on any continuous controller number from 1-95 The "Controller 
Function Select" button (page 37) must be set to "Program" in order to 
transmit. The knobs only generate a message when you move a knob to a 
new value. The Controller Knob LEDs always remain off in this mode. 



See the block diagram showing "Triggers & Programmable Knobs' 
page 314 for detailed information about the actual routing path. 



on 



► To Program the Programmable Knobs 

1. Press the Controllers button. Its LED will illuminate. 

2. Turn the data entry control to select the "Programmable Knobs" screen. 



Knob# 



K1 PROGRRMMRBLE KNOBS 
Ctrl: 22 Ch:01R Ext 



cc# 



MIDI Chan 



Int/Ext/Both/Seq 



3. Use the left/right cursor controls to select the fields. 

4. Select the MIDI Continuous Controller number, the MIDI channel, and 
Internal/External/Both/Sequencer for each of the 16 knobs. 

5. Save the Multisetup if you want to save these settings. See page 125. 



"Quick-Edit" changes the initial controller setting in the preset whenever 
you move a Control Knob. This parameter selects whether or not the front 
panel Controller Knobs are used to Quick-Edit the currently selected preset. 
See "Real-time Controller Knobs" on page 37 in the Operations chapter for 
more details. 



KNOBS PRESET QUICK-EDIT 
disabled 



120 E-MU Systems 



Controllers Menu 
Real-time Controller Assignment 



Real-time Controller 
Assignment 



\ 



Tip: Proteus 2500 
factory presets have certain 
synth parameters assigned to 
each controller letter and so 
these are "Global" controller 
assignments. 

For example, assigning a MIDI 
controller to "A" in this screen 
would let you control filter Fc for 
all the factory presets. See 
"Front Panel Knob Functions" on 
page 287. 



Use these three pages to assign sixteen real-time control sources. Each MIDI 
Controller is assigned a letter (A - P). The front panel Controller Knobs and 
sixteen MIDI controller numbers share the A-P controller routings. These 
screens let you select which MIDI real-time controllers numbers will be 
received (from 1 to 31 and front 64 to 95) and which controller numbers 
will be transmitted over MIDI if the front panel controls are turned. 
The Patchcord routing and amount in the Preset Edit menu determine 
what effect the controller has on each preset. Real-time controllers are 
shown in the Patchcord menu as MIDI A through MIDI P. 

The Real-time Controller assignment also specifies which controller 
numbers are transmitted when the "Knobs MIDI Out" is enabled (see 
"Knobs Output MIDI" on page 140). 



RERLTIME CONTROLLER # 
R: 74 B: 71 C: 25 D: 26 



RERLTIME CONTROLLER # 
E: 73 F: 75 G: 85 H: 72 



RERLTIME CONTROLLER # 
I: 78 J: 77 K: 27 L: 28 



RERLTIME CONTROLLER # 
M: 01 N: 03 0: 82 P: 83 



Note: Controllers 7 and 10 are already assigned to Volume and Pan for each 
MIDI channel. Controllers 91 & 93 are the standard controller numbers for 
reverb and chorus send amounts, but are not assigned. 

Following are a few of the standardized MIDI Controller numbers as 
defined by the MIDI manufacturers association. The controllers shown in 
Bold are automatically routed to the destination (volume & pan) or have 
their own Patchcord source. Others, such as Portamento Time, can be 
routed using a Patchcord to have the desired effect. 



Proteus 2500 Operation Manual 121 



Controllers Menu 
MIDI Footswitch Assign 



MIDI Footswitch 
Assign 



Tempo Controller 



1 - Modulation Wheel 

2 - Breath Controller 

3 - Aftertouch 

4 - Foot Pedal 

5 - Portamento Time 

6 - Data Entry 



7 - Volume 

8 - Balance 

9 - Undefined 

10 - Pan 

11 - Expression 



Like the MIDI Controllers, you can assign three MIDI footswitches to MIDI 
footswitch numbers. Footswitches numbers are from 64-79. Destinations 
for the footswitch controllers are programmed in the Patchcord section of 
the Preset Edit menu. The rear panel footswitches 1 & 2 are connected to 
footswitch controllers 1 & 2 in this screen. Pressing a footswitch transmits 
on the MIDI controller number programmed here. Footswitch 3 routes 
incoming MIDI footswitch data to the Patchcord section of Proteus 2500. 




This function allows a MIDI controller to change the Base Tempo of the 
Master Clock. The Master Clock is used by the sequencer, arpeggiators, 
clock divisor Patchcords, tempo-based envelopes and synced LFOs. (See 
"Clock Modulation" on page 154.) You can assign any controller number 
from 0-31, mono key pressure, or the Pitch Wheel to change the Global 
Tempo. 

A different controller can be used to change the tempo up or down. The 
Pitch Wheel can be assigned to both the up and down parameters to vary 
the tempo up and down from a single controller. If any other controller is 
assigned to both the up and down parameters, Proteus 2500 redefines the 
center of the controller's range as zero (so it acts like a pitch wheel). 

MIDI Controller values are added to the Base Tempo with a range of +64. 
When the controller is set to "off" the tempo returns to its original setting. 
Controllers are only recognized on the selected MIDI channel, unless 
Proteus 2500 is in Omni mode, in which case all channels are accepted. 
This control has no effect when using an external clock. 



TEMPO CONTROLLER* 
Up: 03 Down: 09 



CHRN 
16B 



122 E-MU Systems 



Global Menu 



<5>& 

Warning: Global Menu 
changes are automatically 
saved when you exit the menu. 
If the power is turned off before 
you exit the menu any changes 
you have made will be lost. 



The Global menu contains functions that affect the overall operation of 
Proteus 2500. For example, changing the Master Tune parameter changes 
the tuning of all the presets, not just the one currently displayed. 

► To enable the Global menu 

Press the Global button, lighting the LED. The Global Menu screen displays 
the menu page most recently selected since powering up Proteus 2500. The 
cursor appears below the first character of the screen heading on line one. 

► To select a new screen 

Press the Home/Enter button or press the Cursor button repeatedly until 
the cursor is below the screen title heading. Rotate the data entry control to 
select another screen. 

► To modify a parameter 

Press either Cursor button repeatedly (or hold down the right cursor button 
while turning the data entry control) until the cursor is below the desired 
parameter value. Rotate the data entry control to change the value. 

► To return to the previously selected screen 

Press the Global button, turning off the LED. 



Proteus 2500 Operation Manual 123 



Global Menu 
Multisetups 



Multisetups 



Restoring 
Multisetups 



A Multisetup is a group of parameters that you might associate with a 
particular performance setup or song. It is like a "snapshot" of the current 
configuration of the Proteus 2500. There are 64 setups numbered 0-63. All 
the Multisetups are user programmable except 63, the factory setup. 



A Multisetup includes ALL the following parameters: 

• Preset/Volume/Pan/Arp assignments for each of the 32 MIDI channels. 

• Multisetup Name 

• ALL Controllers menu parameters 

• ALL Global Menu parameters, except... 

User Key Tuning Tables 

• ALL Arp Menu parameters, except. . . 

User Arp Patterns 

• ALL MIDI Menu parameters, except... 

MIDI Program Change->Preset Map 

When a Multisetup is selected, it overwrites the current Preset/Vol/Pan/Arp 
selections on all MIDI channels. It also overwrites the Controllers, Global, 
Arp, and MIDI menu parameters (with the exceptions noted above). 

If you make changes to any of these menus, Proteus 2500 will retain the 
changes, even if power is turned off. They are of course, overwritten when 
you restore a Multisetup. 



Proteus 2500 contains 64 Multisetup locations. These are all User locations 
except location 63, which is a factory defined Multisetup. 

Multisetups can be restored using a MIDI Bank Select command. 

Select: ccOO = 80, cc32 = 00, (dec) then send a Program Change command 

corresponding to the Multisetup you wish to select. 



RESTORE MULTISETUP 
003 Jazzercide 



► To Restore (Select) a Multisetup: 

1. From the Global menu, scroll to the Restore Multisetup screen using 
the data entry control. The menu page most recently selected since 
powering up Proteus 2500 will be displayed. The cursor appears below 
the first character of the screen heading on line one. 



124 E-MU Systems 



Global Menu 
Multisetups 



Multisetup Name 



Saving Multisetups 



2. Press either cursor button to move the cursor to the bottom line of the 
screen. 

3. Now, use the data entry control to select a Multisetup. The Enter LED 
will be flashing. 

4. Press the Enter button to load the selected Multisetup. 

Multisetups can be named to make it easier to remember their purpose. 

1. Scroll to the "Setup Name" screen (shown below) using the data entry 
control. 



MULTISETUP NRME 
020 User Setup 23 



2. Press either cursor button to move the cursor to the bottom line of the 
screen. 

3. Change the characters using the data entry control. Change the cursor 
position using the cursor buttons. 

4. Press Enter or move the cursor to the top line when you're finished 
naming the multisetup. 



► To Save a Multisetup: 

1. Set the Preset, Volume, Pan and Arp settings (in Preset View mode) for 
all channels. Set the Global, MIDI, and Controllers menu parameters 
the way you want them. 

2. Press the Global button, then scroll to the "Save Setup" screen (shown 
below) using the data entry control. 



SRVE SETUP TO 

020 Destination Multisetup 



3. Press either cursor button to move the cursor to the bottom line of the 
screen. 

4. Now, use the data entry control to select the destination location. The 
Enter LED will be flashing. 

5. Press the Enter button to save the Multisetup. 



Proteus 2500 Operation Manual 125 



Global Menu 
Defining Global Parameters 



Defining 

Global 

Parameters 

Transpose/Tune 



Bend Range 



Global setup parameters affect overall performance, range, and global 
effects. This section describes the Global parameters and how to define 
them. 



The Transpose parameter transposes the key of all presets, in semitone 
intervals. The transpose range is + 24 semitones. 

Master Tune adjusts the fine tuning of all presets so that you can tune 
Proteus 2500 to other instruments. The master tuning range is + 1 semitone 
in l/64th semitone increments (1.56 cents). A master tune setting of "+00" 
indicates that Proteus 2500 is perfectly tuned to concert pitch (A=440 Hz). 



MRSTER TRRN5P05E 
+00 semitones 



TUNE 
+00 



The Master Bend Range parameter sets the range of the touchstrip or pitch 
wheel if you have a MIDI keyboard connected. This affects only presets that 
have their individual Pitch Bend range (denned in the Preset Edit menu) set 
to Master. See page 208. The maximum pitch bend range is +12 semitones or 
one octave in each direction. 



MRSTER BEND RRNGE 
+/- 7 semitones 



126 E-MU Systems 



Global Menu 
Defining Global Parameters 



Velocity Curve 



Incoming velocity data or keypad velocity can be altered by one of thirteen 
velocity curves. These specially designed curves allow you to customize the 
dynamic feel of the pads to your individual playing style, or to better adapt 
Proteus 2500 to a external MIDI controller. You can select one of thirteen 
global velocity curves or to leave the data unaltered (linear). 



MR5TER VELOCITY CURVE 
13 




20 40 60 80 100 120 

Played Velocity 




20 40 60 80 100 120 

Played Velocity 



ft 


120 








o 

01 

> 

4-1 
</) 

01 
DC 


120 — 
100 




'0 
o 




Curve 9 






80 — 




o> 
> 










60 — 




4-1 












/ Curve 13 




20 — 




0> 












ill 


20 — 








— 

( 






( 


11111 

) 20 40 60 80 100 120 

Played Velocity 


) 20 40 60 80 100 120 

Played Velocity 



For a complete list of all available velocity curves, see "Velocity Curves" on 
page 309 of the Appendix. 



Proteus 2500 Operation Manual 127 



Global Menu 
Defining Global Parameters 



Mix Output 



>0 Send Routings 

Send 1 - Main Outputs 
Send 2 - Subout I or Main Outs 
Send 3 - Subout 2 or Main Outs 
Send 4 - Main Outputs 



The Mix Output parameter allows you to override the routing assignments 
made in each preset and instead assign the outputs according to MIDI 
channel. For each of the 32 MIDI channels, you can select Send 1-4, or 
Preset. When Preset is selected, the output assignment denned in the Preset 
Edit menu is used. 



MIX OUTPUT 

channel 16R: 5end2->main 



t 



Indicates that the dry signal is 
routed to the Main output jacks. 

The Output Routing field (pointed to by the arrow) reflects the true 

routing of Send 2 or Send 3 to either: 

1) the effects processor input or... 2) the rear panel submix jacks. 

Since the Sub 1 output is NOT being used, the signal is routed through the 
effects processors, then on to the main outputs. If a plug were inserted into 
one of the Sub 1 jacks the destination field would read "Subl" and the dry 
signal would be routed directly to the Sub 1 outputs on the back panel. 



MIX OUTPUT 

channel 15R: use preset 



The Sends function as effect processor inputs (effect sends). Send 2 and 
Send 3 are also used to route sounds to the Sub 1 and 2 outputs on the back 
panel. When a plug is inserted into the associated Submix jack on the back 
panel, the Dry portion of the Send is disconnected from the effects 
processor and the signal is routed directly to the output jack. The Arrow 
points to the actual output routing. If you don't want the wet portion of 
the signal in the main mix, turn down the Send Level. The entire Send is 
disconnected from the Effects Processors even if only one plug is inserted into the 
Submix jack. 

The four Effect Sends allow you to get the most out of the two effect 
processors. For example, with Effect B set to an echo algorithm, you could 
route one MIDI channel to Send 3 and set the effect amount to 80%. 
Another MIDI channel could be routed to Send 4 with an effect amount of 
only 5%. This is almost like having two different effects! 

The Mix Output function is also useful when sequencing since it lets you 
route specific MIDI channels (and thus sequencer tracks) to specific Sub 
outputs (on the back panel) where there they can be processed with EQ or 
other outboard effects. 



128 E-MU Systems 



Global Menu 
Defining Global Parameters 



OUTPUT SECTION 
& EFFECTS PROCESSORS 



MIDI Channel 1A 



MIDI Channel 2A 



MIDI Channel 3A 



MIDI Channel 16A 
MIDI CHANNEL 

MIDI Channel IB 
MIDI Channel 2B 
MIDI Channel 3B 

MIDI Channel 16B 
MIDI CHANNEL 




Sends 2 and 3 can be routed to the effects processors or to rear panel submix jacks. 
When a plug is inserted into a Submix jack, the dry portion of the Send is disconnected 
from the effects processor and is routed directly to the Submix output jacks. 



Proteus 2500 Operation Manual 129 



Global Menu 
Master Effects 



Master Effects 



Effects Mode 



Effects Multi Mode 
Control 



The digital effect processors can be programmed as part of the preset (using 
the Preset Edit menu) so that effects will change along with the preset. 
However, there are only two effect processors, and so you cannot have a 
different effect on each preset when in Multi mode. 

The Master Effects settings assign the effect processors "globally" for all 
presets to provide a way to use the effects in Multi mode. Detailed infor- 
mation is presented in the Effects chapter (see Effects on page 249). 



The FX Mode page enables or bypasses the effects. When the FX Mode is set 
to "bypass," the effects are turned off on a global scale. This includes Effects 
programmed in the preset. 



FX MODE 
enabled 



The routing scheme for the two stereo effects processors provides a lot of 
versatility. When in multi mode, you can "use master settings" which 
applies the Master effects settings to all 32 MIDI channels. 



FX MULTIMODE CONTROL 
use master settings 



If you want more control, you can use the "channel" setting which applies 
the effects settings of the preset on a specified channel to all the other 
channels. Changing the preset on the specified channel changes the effect. 



FX MULTIMODE CONTROL 
preset on channel 1 



If you are in Omni or Poly modes this parameter is disabled and the 
message in parentheses explains that Proteus 2500 is currently in Omni 
mode. 



FX MULTIMODE CONTROL 
(using Omni mode) 



130 E-MU Systems 



Global Menu 
Master Effects 



Master FXA 
Algorithm 



This function selects the type of effect used for the "A" effect. The following 
effect types are available. 



MR5TER FXR RLGORITHM 
Room 1 



A Effect Types 



1. Room 1 


23. 


BBall Court 


2. Room 2 


24. 


Gymnasium 


3. Room 3 


25. 


Cavern 


4. Hall 1 


26. 


Concert 9 


5. Hall 2 


27. 


Concert 10 Pan 


6. Plate 


28. 


Reverse Gate 


7. Delay 


29. 


Gate 2 


8. Panning Delay 


30. 


Gate Pan 


9. Multitap 1 


31. 


Concert 11 


10. Multitap Pan 


32. 


Medium Concert 


11. 3 Tap 


33. 


Large Concert 


12. 3 Tap Pan 


34. 


Large Concert Pan 


13. Soft Room 


35. 


Canyon 


14. Warm Room 


36. 


DelayVerb 1 


15. Perfect Room 


37. 


DelayVerb 2 


16. Tiled Room 


38. 


DelayVerb 3 


17. Hard Plate 


39. 


DelayVerb 4 Pan 


18. Warm Hall 


40. 


DelayVerb 5 Pan 


19. Spacious Hall 


41. 


DelayVerb 6 


20. Bright Hall 


42. 


DelayVerb 7 


21. Bright Hall Pan 


43. 


DelayVerb 8 


22. Bright Plate 


44. 


DelayVerb 9 



Proteus 2500 Operation Manual 131 



Global Menu 
Master Effects 



FXA Parameters: 
Decay /HF Damping 
FxB -> FxA 



FXA Send Amounts 



Master FXB 
Algorithm 



This page lets you define the parameters of the selected Effects algorithm. 
Use this page to setup the effect decay, high frequency damping amount 
and to route "B" effects through the "A" effects. See "Effect Parameters" on 
page 251 for more details. 



FXR DECRY 
040 



HFDRMP FxB>FxR 
096 001 



These parameters set the effects amounts for each of the four stereo effects 
busses. See "Master Effects" on page 254 for detailed information. 



FXR SEND RM0UNT5 1:100% 

2: 50% 3: 10% M: 0% 



This parameter selects the type of effect used for the "B" effect. The 
following effect types are available. 



MR5TER FXB ALGORITHM 
Chorus 1 



132 E-MU Systems 



Global Menu 
Master Effects 



FXB Parameters: 
Feed back/ LFO Rate 
Delay Time 



FXB Send Amounts 



B Effect Types 



1. Chorus 1 


17. 


Ensemble 


2. Chorus 2 


18. 


Delay 


3. Chorus 3 


19. 


Delay Stereo 


4. Chorus 4 


20. 


Delay Stereo 2 


5. Chorus 5 


21. 


Panning Delay 


6. Doubling 


22. 


Delay Chorus 


7. Slapback 


23. 


Pan Delay Chorus 1 


8. Flange 1 


24. 


Pan Delay Chorus 2 


9. Flange 2 


25. 


Dual Tap 1/3 


10. Flange 3 


26. 


Dual Tap 1/4 


1 1 . Flange 4 


27. 


Vibrato 


12. Flange 5 


28. 


Distortion 1 


13. Flange 6 


29. 


Distortion 2 


14. Flange 7 


30. 


Distorted Flange 


15. Big Chorus 


31. 


Distorted Chorus 


1 6. Symphonic 


32. 


Distorted Double 



The FXB parameters setup the characteristics of the effect. Use this page to 
define the feedback amount, the LFO rate and delay amount for the 
selected type "B" effect. See "Effect Parameters" on page 251 for details. 



FXB FEEDBK 
000 



LFORRTE DELRY 
003 



These parameters set the effects amounts for each of the four stereo effects 
busses. See the Effects chapter for detailed information. 



FXB SEND RMOUNTS 1:100% 

2: 50% 3: 10% M: 0% 



Proteus 2500 Operation Manual 133 



Global Menu 
Miscellaneous Parameters 



Miscellaneous 
Parameters 

Edit All Layers Enable 



User Key Tuning 



\ 



The user key tuning can 
be used to tune individual 
percussion instruments. 



Output Format 



This function allows you to turn the Edit All Layers feature on or off. "Edit 
All Layers" is an Edit menu feature which allows you to select all layers (the 
letter "A" appears in the layer field) in order to edit all four layers simulta- 
neously. Because this feature can be confusing to the beginning 
programmer, it can be disabled here in the Global menu. 



EDIT RLL LRYER5 
enabled 



User Key Tuning lets you create and modify 12 user definable tuning tables. 
The initial frequency of every key can be individually tuned, facilitating the 
creation of alternate or microtonal scales. 

Using the cursor keys and the data entry control, select the user table 
number, the key name, the coarse tuning and the fine tuning. The key 
name is variable from C-2 to G8. Coarse Tuning is variable from to 127 
semitones. The fine tuning is variable from 00 to 63 in increments of 1/64 
of a semitone (approx. 1.56 cents). For each preset, the specific tuning table 
is selected in the Preset Edit menu. See page 216. 



USER KEY TUNING Table: 1 

Key: CI Crs: 036 Fine: 00 



The Output Format parameter sets the digital audio output format. The 
available formats are S/PDIF, and AES pro. If you are using the digital 
output, choose either S/PDIF or AES pro to match the format of the 
receiving device. 



OUTPUT F0RMRT 
S/PDIF 



134 E-MU Systems 



Global Menu 
Miscellaneous Parameters 



fed 

^^ DON'T CHEAP OUT! 

Always use high quality cable for 
digital audio connections. 



Screen Viewing 
Angle 



Although the S/PDIF digital output can transmit AES Pro format, you'll 
need an adapter cable for the electrical connections. The diagram below 
shows how an adapter cable for AES pro should be wired. 

To AES 
Device 



N.C. 




Shield 



From 

Proteus 2500 

Digital OUT 



If you use an adapter cable to connect the S/PDIF digital audio output to AES gear, make 
sure to use high quality, low capacitance cable. 



This function changes the viewing angle of the display so that you can read 
it easily from either above or below the unit. The angle is adjustable from 
+7 to -8. Positive values will make the display easier to read when viewed 
from above. Negative values make the display easier to read from below. 



VIEWING RNGLE 
+0 



Proteus 2500 Operation Manual 135 



Global Menu 



136 E-MU Systems 



MIDI Menu 



&6 

Warning: MIDI Menu 
changes are automatically 
saved when you exit the menu. 
If the power is turned off before 
you exit the menu any changes 
you have made will be lost. 



Most of the parameters in Proteus 2500 that relate to MIDI are contained 
within this menu. You can merge MIDI data, change the continuous 
controller assignments, turn program changes off or on, and lots more. 

MIDI menu settings are saved with the current Multimap. 

► To enable the MIDI menu 

Press the MIDI button, lighting the LED. The MIDI Menu screen displays 
the menu page most recently selected since powering up Proteus 2500. The 
cursor appears below the first character of the screen heading on line one. 

► To select a new screen 

Press the Home/Enter button or press the Cursor button repeatedly until 
the cursor is below the screen title heading. Rotate the data entry control to 
select another screen. 

► To modify a parameter 

Press either Cursor button repeatedly (or hold down the right cursor button 
while turning the data entry control) until the cursor is below the desired 
parameter value. Rotate the data entry control to change the value. 

► To return to the previously selected Mode/View screen 

Press the MIDI button, turning off the LED. 



Proteus 2500 Operation Manual 137 



MIDI Menu 
Base Tempo 



Base Tempo 



\ 



You can also tap tempo 
using a footswitch. See 
page 1 7 7. 



Rechannelize Input 



Proteus 2500 contains an internal Master Clock which runs the sequencer, 
arpeggiators, synchronizes the LFOs when in tempo-based mode, controls 
the times of tempo-based envelopes, and can be used as a modulation 
source in the Patchcords section. 

You'll notice that there are two tempo values shown in the display. 

• Base Tempo - This is the base tempo setting before being modified by 
the Tempo Controller (if engaged). See "Tempo Controller" on page 122. 

• (Current Tempo) - This is the actual tempo! The current tempo is 
equal to the base tempo modulated by the MIDI controller specified in 
the Tempo Controller screen. If no MIDI Tempo controller message has 
been received since the last Base Tempo change, the Current Tempo will 
be equal to the Base Tempo. 

The LED to the right of the button blinks at the current tempo rate. 

► To Change the Base Tempo 

1 . Move the cursor to the lower line of the display. 

2. Adjust the Base Tempo using the data entry control. 



BRSE TEMPO (0 = MidiClk) 
120 bpm (current: 182) 



3. To Tap Tempo - Tap the Tap button at least three times. Keep tapping 
to continuously update the tempo on each tap. The tap tempo range is 
25-300 bpm. The Base Tempo values range from 1 through 300 beats 
per minute (BPM). 

► To Use an External MIDI Clock: 

1 . Move the cursor to the lower line of the display. 

2. Turn the data entry control all the way counter-clockwise and select 
"ext" to use an external MIDI clock source. 



This feature makes it easier to record to the internal sequencer using an 
external keyboard. Rechannelize Input changes the channel of incoming 
MIDI data according to the settings in the Channel Assignment screen. 

To record multiple tracks, you simply change the track number and preset. 
You don't have to change the channel number of your external MIDI 
controller. 

Rechannelize Input can be set to Off, Always or On Record. When set to 
On Record, the input will only be rechannelized when the Record LED is 
illuminated (Record or Record-Pause mode). This allows normal MIDI 



138 E-MU Systems 



MIDI Menu 
Rechannelize Input 



channel routing except when recording, when the channel data will be 
changed to match the current track. 



RECHRNNELIZE INPUT 
To Track Dest: always 



► Using Rechannelize Input to Record from a MIDI Keyboard: 

1. Select an empty pattern. 

Set Rechannelize Input to Always. 

Select a preset for Channel 1 (C01A) from the Preset View screen. 
(Note that your MIDI keyboard always plays the preset assigned to the 
channel shown in the display.) 

Turn Preset View Off to show the pattern screen again. 

Press Record, then set the Pattern Length, Quantize & Metronome. 

Press Play to begin recording. 

Press Stop when finished. (Press Stop twice to Return to Zero.) 

Select a preset for Channel 2 (C02A) from the Preset View screen. 
Notice that the keyboard now plays the new preset. 

9. Press Record, then Play to begin recording. 

10. Continue to record tracks. 



2. 
3. 



4. 
5. 
6. 
7. 
8. 



o- 

MIDI In 



Rechannelize 
Input 
Screen 



Channel 

Assignment 

Screen 



Out A 



Out B 



MIDI Out 
(0-31) 



Rechan^ 


On 




Sequencer 

Track 

Routing 






On/Off 




w- 


Synth 
Engine 






Off | 

















Sequencer 

Recording 

Input 



The Rechannelize Input feature routes performance data through the Sequencer 
Track Routing so that you don't have to change channels on your MIDI keyboard. 



Proteus 2500 Operation Manual 139 



MIDI Menu 
Knobs Output MIDI 



Knobs Output MIDI 



Transmit MIDI Clock 



External Song Start/ 
Stop 



This function allows you to select whether or not knob data is transmitted. 
The knobs transmit on the controller numbers denned by the Real-time 
Controller Assign parameter (See page 121). 



KNOBS MIDI OUT 
don't transmit 



This option enables or disables the transmission of MIDI clock from the 
MIDI out port. When Proteus 2500 is running on its own internal clock 
(page 138) it transmits 24 MIDI clocks per quarter note. When Proteus 2500 
is slaved to an external MIDI clock, it mirrors the incoming clock data. 




This feature lets the sequencer receive or ignore incoming MIDI Song Start 
(OxFA), Continue (OxFB), Stop (OxFC) and Song Position Pointer (0xF2) 
messages. 



EXTERNRL SONG STRRT/STOP 
accepted 



To use the instrument as a MIDI sound module with an external sequencer, 
set this control to "ignored." In this setting the internal sequencer won't 
start up every time your computer sequencer sends a start command. 

If you're using and external MIDI controller to start and stop the internal 
sequencer, set this control to "accepted." 



140 E-MU Systems 



MIDI Menu 
Merge MIDI In to MIDI Out 



Merge MIDI In to 
MIDI Out 



MIDI In Channels 



MIDI Enable 



MIDI data received at the MIDI In port can be merged with outgoing MIDI 
data at either, or both of the two MIDI out ports, the MIDI output port. 
This allows you to connect a MIDI keyboard to Proteus 2500 and control 
both Proteus 2500 and any other external synthesizers down the line. 



MERGE MIDI IN TO OUT 
Out R: off Out B: on 



This menu allows MIDI data received at the MIDI input port to control 
either the internal "A" or "B" channels. With this switch set to "B", you 
could play an external MIDI keyboard on channels 1B-16B while channels 
1A-16A remain dedicated to the internal sequencer. 



MIDI IN CHRNNEL5 
to 16: R 



MIDI Enable lets you turn each MIDI channel on and off independently 
when in Multi mode. This feature is helpful when you have other devices 
connected to the same MIDI line and do not want the Proteus 2500 unit to 
respond to the MIDI channels reserved for the other devices. 



MIDI ENRBLE 
channel 01R: On 



Because the MIDI Enable function only makes sense if you are in Multi 
mode, Proteus 2500 disables this feature when in Omni or Poly mode. 



In Multi 
Mode 



In Omni 
Mode 



MIDI ENRBLE 
channel 16B: On 



MIDI ENRBLE 
(using Omni mode) 



Proteus 2500 Operation Manual 141 



MIDI Menu 
Receive Program Change 



Receive Program 
Change 



MIDI Program 
Change -> Preset 



% 



The Program->Preset 
Change only works for program 
changes received in Bank 0. 



Use this function to instruct Proteus 2500 to utilize or ignore incoming 
MIDI preset changes or Bank Select commands for each channel. Use the 
cursor buttons to select the channel number field, then use the data entry 
control to select a channel number. Use the cursor button again to select 
the On/Off field and the data entry control to change the value. 



RECEIVE PROGRRM CHRNGE 
channel 01R : on 



You can also remap incoming MIDI program changes to a different 
numbered preset. This is a handy feature when your master keyboard 
cannot send a bank change or you want to reorder preset numbers. Any 
preset can be mapped to any incoming MIDI program change number. 

For example, you could set up the Program -> Preset map to call up preset 
#12 whenever Proteus 2500 receives MIDI program change #26. 

The four fields shown below are editable. 




Incoming Program 
Change in Bank 



ROM Bank Program No. Bank No. 



142 E-MU Systems 



MIDI Menu 
MIDI SysEx ID 



X 



Programs and presets are 
the same thing. "Preset" is the 
E-MU term for MIDI Program. 



MIDI SysEx ID 



<5>& 

^^ WARNING: When 
transferring SysEx data from one 
Proteus 2500 to another, the ID 
numbers of both units must be 
the same. 






Selected 
Program 








1 


2 


3 


4 


5 


6 


7 


8 


9 




00° 


01° 


02° 


03° 


04° 


05° 


06° 


07° 


08° 


09° 


10 


44 


91° 


50' 


01° 


15° 


88° 


99 


78° 


32 


88° 


20 


34 


73° 


106 


55° 


43 Z 


75° 


12° 


120° 


121° 


ioo 2 


30 


30° 


31° 


32° 


33° 


34° 


35° 


36° 


37° 


38° 


39° 


40 


40° 


41° 


42° 


43° 


44° 


45° 


46° 


47° 


48° 


49° 


50 


50° 


51° 


52° 


53° 


54° 


55° 


56° 


57° 


58° 


59° 


60 


60° 


61° 


62° 


63° 


64° 


65° 


66° 


67° 


68° 


69° 


70 


70° 


71° 


72° 


73° 


74° 


75° 


76° 


77° 


78° 


79° 


80 


80° 


81° 


82° 


83° 


84° 


85° 


86° 


87° 


88° 


89° 


90 


90° 


91° 


92° 


93° 


94° 


95° 


96° 


97° 


98° 


99° 


00 


100° 


101° 


102 


103 


104 


105° 


106° 


107° 


108° 


109° 


10 


110° 


111" 


112 


113 


114 


115° 


116° 


117° 


118° 


119° 


20 


120° 


121° 


122° 


123° 


124° 


125° 


126° 


127 







I HI 

1 l_ 



Mapped 
Program 



In this chart, program changes 10-29 have been remapped to new preset numbers. All 
other presets are selected normally. 



This page defines the MIDI system exclusive (SysEx) device ID number. The 
SysEx ID lets an external programming unit to distinguish between 
multiple Proteus 2500 units connected to the same preset editor. In this 
case each unit must have a unique SysEx ID number. 



MIDI SYSEX ID 
000 



Proteus 2500 Operation Manual 143 



MIDI Menu 
MIDI SysEx Packet Delay 



MIDI SysEx Packet 
Delay 



Send MIDI System 
Exclusive Data 



\ 



The Preset, Volume, 
and Pan information for all 32 
channels is included when the 
Multi mode Map settings are 
transmitted or received. 



The MIDI SysEx Packet Delay command lets you specify the amount of 
delay between MIDI SysEx packets going out of Proteus 2500 so that your 
computer sequencer can record this large chunk of data over a longer 
period of time. On playback from the sequencer, the SysEx data will be fed 
more slowly into Proteus 2500 so that the its input buffer does not 
overflow, causing an error. Many sequencers allow you to "Time Stamp" 
SysEx data as it is recorded. This is the preferred mode for recording SysEx. 

The packet delay range is from through 8000 milliseconds. A delay value 
of zero allows full speed MIDI transfer. If you are experiencing data trans- 
mission errors, try increasing the delay value until the problem disappears. 



MIDI SYSEX PRCKET DELRY 
300 milliseconds 



This command transmits MIDI System Exclusive (SysEx) data to the MIDI 
Out port of Proteus 2500. The MIDI data can be sent to a computer, 
sequencer or to another Proteus 2500. When transferring data between two 
Proteus 2500s be sure both units have the same SysEx ID number! Using the 
cursor key and the data entry control, select the type of MIDI data you want 
to transmit. Following are descriptions of the types of MIDI data that can 
be transmitted. 

Current Multisetup 

Transmits all parameters in the Global menu except Tuning Tables, 
Program/Preset Map and Viewing Angle. Transmits the entire Controllers 
menu. 

Program /Preset Map 

Transmits the MIDI Program -> Preset Map. 

Tuning Tables 

Transmits all 12 user User Tuning Tables. 

Multimode Map 

Transmits the following parameters: 

• Multimode Basic Channel 

• Multimode Effects Control Channel 

• Multimode Tempo Control Channel 

and for each MIDI Channel. . . 

• Preset, Volume, & Pan 

• Mix Output 

• Multimode Channel Enable 

• Multimode Bank Map 

• Multimode Receive Program Change 



144 E-MU Systems 



MIDI Menu 
Send MIDI System Exclusive Data 



&6 

^^ WARNING: When 
transferring SysEx data from one 
Proteus 2500 to another, the ID 
numbers of both units must 
match. 



Bank User Presets 

Transmits all the user denned presets in Bank 0. 

Bank 1 User Presets 

Transmits all the user denned presets in Bank 1. 

Bank 2 User Presets 

Transmits all the user defined presets in Bank 2. 

Bank 3 User Presets 

Transmits all the user defined presets in Bank 3. 

Any Individual Preset 

Transmits only the selected preset. 

The Enter LED will be flashing. Press the Enter button to confirm the 
operation. To receive MIDI data, simply send the MIDI data into Proteus 
2500 from another Proteus 2500 or from a computer/sequencer. 



SEND MIDI SYSEX DRTR 
bank 1 user presets 



► To Record MIDI SysEx Data into an External Sequencer: 

1. Setup the sequencer to receive system exclusive data. 

2. Place the sequencer into record mode, then Send MIDI Data. 

► To Receive MIDI SysEx Data from an External Sequencer: 

Simply play back the sequence containing the SysEx data into Proteus 
2500. 



Proteus 2500 Operation Manual 145 



MIDI Menu 
MIDI Mode 



MIDI Mode 



MIDI Mode selects one of the three MIDI modes: Omni, Poly or Multi. 



MIDI MODE 
multi 



CHRNGE 
ignored 



The MIDI Mode Change parameter specifies whether mode changes made 
through an external MIDI controller are accepted or ignored. 

The MIDI modes are as follows: 

Omni 

Responds to note information on all MIDI channels and plays the preset 
currently displayed in the main screen. 

Poly 

Responds only to note information received on the currently selected MIDI 
channel (on the preset selection screen) and plays that channel's associated 
preset. 

Multi 

Responds to data on any combination of MIDI channels and plays the 
specific preset associated with each of the MIDI channels. You must select 
multi mode for multitimbral operation. 



146 E-MU Systems 



Programming Basics 



This chapter explains how Proteus 2500 sounds are constructed and 
contains important background information on how to create your own 
custom presets. 

Your initial involvement with Proteus 2500 will most likely be using the 
existing presets and selecting MIDI channels. While the factory presets are 
very good, there are some things you will probably want to change 
eventually perhaps the LFO speed, the filter frequency or the attack time. 
You may also want to make your own custom presets using complex 
modulation routings. This module will do far more than you ever imagined 
and there are whole new classes of sound just waiting to be discovered. 

Each preset can consist of up to four instrument layers. Each of the four 
layers can be placed anywhere on the keyboard and can be crossfaded or 
switched according to key position, velocity, or by using a real-time control 
such as a wheel, slider, pedal, LFO or envelope generator. A preset can also 
be "linked" with up to 2 more presets creating additional layering or splits. 

Proteus 2500 has an extensive modulation implementation using two 
multi-wave LFO's (Low Frequency Oscillators), three multi-stage envelope 
generators and the ability to respond to multiple MIDI controllers. You can 
simultaneously route any combination of these control sources to multiple 
destinations. 

There are 512 user locations (USER Banks 0-3) available to store your own 
creations or edited factory presets. It's easy and fun to edit or create your 
own unique presets. 



Proteus 2500 Operation Manual 147 



Programming Basics 
Modulation 



Modulation 



To modulate means to dynamically change a parameter, whether it be the 
volume (amplitude modulation), the pitch (frequency modulation), and so 
on. Turning the volume control on your home stereo rapidly back and 
forth is an example of amplitude modulation. To modulate something we 
need a modulation source and a modulation destination. In this case, the 
source is your hand turning the knob, and the destination is the volume 
control. If we had a device that could turn the volume control automati- 
cally, we would call that device a modulation source. 










*=== 














[____□ 


□ 


CD 











Turning the volume control back and forth on your home stereo is an example of 
Amplitude Modulation. 



Proteus 2500 is designed so that each of the variable parameters, such as the 
volume, has an initial setting which is changed by a modulation source. 
Therefore in the case of volume, we have an initial volume that we can 
change or modulate with a modulation source. 

Two main kinds of modulation sources on Proteus 2500 are Envelope Gener- 
ators and Low Frequency Oscillators. In the example above, an envelope 
generator could be routed to automatically turn the volume control as 
programmed by the envelope. Or, a low frequency oscillator could be 
routed to turn the volume up and down in a repeating fashion. 

Positive modulation adds to the initial amount. Negative modulation 
subtracts from the initial amount. 

Summing Nodes 

All the modulation inputs on Proteus 2500 are summing nodes. This means 
that you can connect as many modulation sources as you want to an input 
(such as Pitch or AmpVol). Modulation sources are simply added algebra- 
ically — connecting two knobs one set to -100 and the other set to +100 
yields a net value of zero. 



148 E-MU Systems 



Programming Basics 
Modulation Sources 



Modulation 
Sources 



\ 



Tip: Try routing Key 
Clide to Filter Frequency if you 
want the filter to smoothly 
follow pitch in solo mode. 
Routing Key Clide to Pan creates 
another interesting effect. 



Modulation sources include Envelope Generators, Performance Controllers and 
Low Frequency Oscillators. In the previous example, an envelope generator 
was routed to automatically turn the volume control as programmed by the 
envelope, or, a low frequency oscillator could be routed to turn the volume 
control up and down in a repeating fashion. The following is a list of the 
modulation sources used in Proteus 2500. 

Keyboard Key 

Which key is pressed. 

Key Velocity 

How fast the key is pressed. 

Release Velocity 

How fast the key is released. 

Gate 

High if the key is pressed, low when the key is released. 

Key Glide 

A smoothly changing control source based on the Glide Rate and the 
interval between the last two notes played. 

Pitch and Mod Controllers 

Synthesizer pitch bend and modulation controllers. 

Keyboard Pressure (mono aftertouch) 

Key Pressure applied after the keypad is initially pressed. 

Pedal 

A continuously variable pedal controller. 

Miscellaneous Controllers A -P 

Any type of MIDI continuous controller data. 

Low Frequency Oscillators (2 per layer) 

Generate repeating waves. 

Envelope Generators (3 per layer) 

Generate a programmable "contour" which changes over time when a key 
is pressed. 

Noise & Random Generators 

Generate spectrums of noise and random signals. 

Footswitches 

Change a parameter when the switch is pressed. 

Clock Divisor 

The master tempo clock can be divided and used as a modulation source. 



Proteus 2500 Operation Manual 149 



Programming Basics 
Modulation Patchcords 



Random Sources 



Modulation 
Patchcords 

>0 The controller Knobs 
assignments printed on the front 
panel are the system defaults. 
You can change any of these 
assignments using the Real-time 
Controller Assignment page in 
the MIDI menu (see page 141 
for details). 



Random modulation sources can be used when you want the timbre of the 
sound to be "animated" in a random or non-consistent manner. 

• Key Random 1 & 2 generate different random values for each layer 
which do not change during the note. 

• The White & Pink Noise Generators produce varying random values. 
Both white and pink noise sources are low frequency noise designed 
for control purposes. Either noise source can be filtered even more by 
passing it through a lag processor. 

• The Crossfade Random function generates the same random value 
for all layers in a preset. This source is designed to be used for cross- 
fading and cross-switching layers, although you may find other uses. 



When setting up modulation with the Proteus 2500, you define a 
modulation source and a modulation destination. Then, you connect the 
source to the destination using "Patchcords." Proteus 2500's Patchcords 
are connected in the software. Proteus 2500 has 24 general purpose Patch- 
Cords for each layer. 

You can connect the modulation sources in almost any possible way to the 
modulation destinations. You can even modulate other modulators. Each 
Patchcord also has an amount parameter which determines "how much" 
modulation is applied to the destination. The modulation amount can be 
positive or negative. Negative values invert the modulation source. 



Modulation 
Source 




Destination 



Amp 
Volume 



Modulation 
Source 



Destination 



LFO 1 

LF0 2 

Amp Env 

Filt Env 

Aux Env 

Wheel 

Pressure 

etc. 



Amp Vol 

Pitch 

Pan 

LFO Rate 

Aux Env 

Env Atk 

Glide 

etc. 



150 E-MU Systems 



Programming Basics 
Envelope Generators 



Envelope 
Generators 



If two adjacent segments 
have the same level in a "time- 
based" envelope, the segment 
will be skipped. Adjacent 
segments must have different 
levels for the rate control to 
work. 



% 



ADSR mode: To create 
a standard ADSR envelope: Set 
Atkl, Atk2 & Dcyl Level to 100, 
RIs 1 & 2 level to 0, and Atk2, 
Dcyl, Rls2 Rates to 0. Program 
Atkl, Dcy2 and Rlsl segments 
as you wish. See page 279. 



X 



By routing the Auxiliary 
or Filter Envelopes to control the 
pitch (Patchcords) you can 
easily hear the shape of the 
envelopes you are creating. 



An envelope can be described as a "contour" which is used to shape the 
sound over time in a pre-programmed manner. There are three envelope 
generators per layer and all of them are the rate/level type. 

This is how the rate/level (time based) envelopes work: When a key is 
pressed, envelope starts from zero and moves toward the Attack 1 Level at 
the Attack 1 Rate. As soon as it reaches this first level, it immediately begins 
the next phase and moves toward the Attack 2 level at the Attack 2 rate. As 
long as the key is held down, the envelope continues on through the Decay 
1 and Decay 2 stages. If the key is still held when the envelope reaches the 
end of Decay 2, it simply waits there for you to release the key. When you 
release the key, the envelope continues into the Release 1 and Release 2 
stages, stopping at the end of the Release 2 stage. Proteus 2500's envelope 
generators provide great flexibility for programming both complex and 
simple envelopes. 



t 



level 



time 




Key 
Down 



Key 
Released 



All three envelope generators have the six stages described above. The 
Volume Envelope generator controls the volume of the voice over time. 
The Filter Envelope generator is a general purpose envelope most often 
used to control the filter frequency. Unlike the Volume Envelope, however, 
the Filter Envelope can have a negative level value as well as a positive 
level. There is also an Auxiliary Envelope generator which is a general 
purpose envelope. The Auxiliary Envelope is identical to the Filter Envelope 
and can have negative as well as positive levels. You can adjust the time of 
each stage to create myriad envelope shapes, which in turn shape the 
sound over time. 

• Volume envelopes contour the way the volume of a sound changes 
over time determining how we perceive that sound. For example, a 
bell struck with a hammer is instantly at full volume, then slowly dies 
away. A bowed violin sound fades in more slowly and dies away 
slowly. Using Proteus 2500's Volume Envelope, you can simulate the 
different types of natural instrument volume envelopes by program- 
ming them appropriately. 



Proteus 2500 Operation Manual 151 



Programming Basics 
Envelope Generators 



S*> 



Only the Filter and 
Auxiliary Envelopes have the 
repeating feature. 



Tempo-based Envelopes 

Tempo-based envelopes are based on Time which is controlled by the 
Master Tempo (located in the Global menu). The Master Tempo rate scales the 
time of the Tempo-based envelope segments. The Master Tempo can also be 
derived from an external MIDI clock to synchronize the envelope times 
with external sequencer or arpeggiator tempo changes. See page 138. 



Tempo-Based Envelopes 




= Initial Setting 

= Increase Master Tempo 

= Decrease Master Tempo 



Envelope Repeat 

The Envelope Generators can also be made to repeat. When the envelope 
repeat function is On, the Attack (1&2) and Decay (1&2) stages will 
continue to repeat as long as the key is held. As soon as the key is released, 
the envelope continues through its normal Release stages (1 & 2). 



t 

level 



time 




Key Down 



Key Released 



The diagram above show how the looping envelopes work. When the key is 
pressed the envelope goes through its regular Attack 1, Attack 2, Decay 1 
and Decay 2 stages. In non-looping mode, the envelope would hold at the 
end of the Decay 2 stage until the key was released. In looping mode 
however, it jumps back to the Attack 1 stage and repeats the first four 
stages. It continues to loop through these four stages until the key is 
released where it immediately jumps to the Release 1 stage. 



152 E-MU Systems 



Programming Basics 
Low Frequency Oscillators (LFOs) 



Low 

Frequency 
Oscillators 
(LFOs) 



LFO Tricks & Tips: 

• The Random LFO wave is 
truly random and is different 
for each voice and layer. 

• The Pattern (Pat) waveforms 
will sound the same on 
different layers and voices. 

• Sine + Noise is very useful for 
simulating trumpet and flute 
vibrato. 

•k When routing Hemi-quaver 
to Pitch: 

+38 = major scale 
-38 = phrygian scale 
+76 = whole tone scale 
(+38) + (+76) = diminished 
(two cords) 

odd amount = S+H sound 



Note: References to musical 
intervals in the pattern LFO 
shapes are with the LFO 
routed to pitch and a 
Patchcord amount of +38. 



^ 



Try combining the 
Pattern LFOs, or controlling the 
amount of one with another, or 
combining them with the clock 
divisors. 



A Low Frequency Oscillator or LFO is simply a wave which repeats at a slow 
rate. The Proteus 2500 has two multi-wave LFOs for each channel. The LFO 
waveforms are shown in the following illustration. 



Random 



Triangle 



Sawtooth 



-TLJWl 



Sine 



Square 



33% Pulse 



l~L 



25% Pulse 



16% Pulse 



12% Pulse 



[LJU ILJLJ fl 



Pat: Octaves 

+ Octave 



Pat: Neener 



Pat: Fifth + Octave 

c. 



J — L 



Pat: Sus4 trip 

G, 



Sine 1,2 



Sine 1,3,5 




Sine + Noise 



Hemi-quaver 



■^V/V 4\ 




By examining the diagram of the LFO waveforms, you can see how an LFO 
affects a modulation destination. The shape of the waveform determines 
the result. Suppose we are modulating the pitch of an instrument. The sine 
wave looks smooth, and changes the pitch smoothly. The square wave 
changes abruptly and abruptly changes from one pitch to another. The 
sawtooth wave increases smoothly, then changes back abruptly. The 
sound's pitch follows the same course. Controlling the pitch of an 
instrument is an easy way to hear the effects of the LFO waves. 

Like the Auxiliary Envelope, LFOs can be routed to control any real-time 
function such as Pitch, Filter, Panning, or Volume. A common use for the 
LFO is to control the pitch of the sound (LFO -> Pitch). This effect is called 
vibrato and is an important performance effect. Many presets use this 
routing with the modulation wheel controlling "how much" LFO 
modulation is applied. Another common effect, Tremolo, is created by 
controlling the volume of a sound with the LFO (LFO -> Volume). 



Proteus 2500 Operation Manual 153 



Programming Basics 
Clock Modulation 



Clock 
Modulation 



^> 



Envelopes are triggered 
on the positive going edge of the 
clock. LFOs are triggered on the 
negative going edge of the 
clock. 



>0 The tempo of the master 
clock is set in the Global menu. 



You might use the LFOs to add a slight bit of animation to the sound by 
routing the LFO to control the filter. For this effect, set the LFO "amount" 
low for a subtle effect. 

When a Patchcord amount is a negative value, the LFO shape is inverted. 
For example, inverting the sawtooth wave produces a wave that increases 
abruptly, then smoothly glides down. 



Negative Amount 

-► - ■>r\c+ — ► 




Sawtooth 



Inverted Sawtooth 



You can use the Master Clock as a modulation source, to trigger the Filter or 
Auxiliary Envelope generators, trigger Sample Start, synchronize the LFOs, 
or directly as a square wave modulation source. The Clock source is 
available in eight divisions (octal whole note, quad whole note, double 
whole note, whole note, half note, quarter note, eighth note, sixteenth 
note). You can use the different rates separately or in conjunction to create 
complex "synchro-sonic" rhythm patterns. You can also use a MIDI Clock 
as the Master Clock to synchronize to an external MIDI device such as a 
drum machine or sequencer. (See Master Tempo in the Global menu.) 

Clocks are routed exactly like the other modulations sources using the 
Patchcords. The Patchcord Amount MUST be positive (+) for the clock to 
pass. By modulating the Patchcord Amount, you can route the divided 
clocks using real-time controllers or other modulation sources. 

When an LFO is triggered by a clock, the LFO wave resets to zero every time 
the clock wave goes low. If the LFO rate is close to the clock rate, the LFO 
virtually synchronizes with the clock. If the two rates are far apart, the 
waveform of the LFO will be mildly or radically altered. 



Triggered LFO 



LFO Wave 



Clock 




LFO Trigger causes the LFO to reset each time the clock waveform goes low. 



154 E-MU Systems 



Programming Basics 
Clock Modulation 



/\ 


\/ 


/N 


\/ 



LFO Synced to 1/4 Note Clock 



LFOs can also be perfectly synchronized with the clock at any of 25 note 
divisions. This allows you to create very cool "synchro-sonic" effects that 
work perfectly at any tempo. Choosing one of the note divisors in the LFO 
rate screen selects the synced LFO function. 

There are many possibilities for clock modulation and retrigger. For 
example, you can create a repeating six segment curve of any shape by 
triggering the Filter or Auxiliary Envelope generators with the clock. A few 
other possibilities are listed below. 

• Turn different voice layers on and off using different clock divisors. 

• Switch between Auxiliary and Filter Envelope retriggering using a 
slider or footswitch. 

• Retrigger LFOs or Envelopes using noise or other LFOs to create 
random or semi random effects. 

• Alter the LFO waveform by modulating the rate of a triggered LFO. 

• Route multiple clocks with different divisors to the same destination 
(such as pitch) to create complex patterns. (Hint: Adjust the Patchcord 
Amounts.) 



Eighth 
Note 



Quarter 
Note 




Adding these two clocks together in equal amounts produces a stairstep waveform. 



16th 
Note 



8th 
Note 



rLTL = 



Quarter 
Note 



Adding multiple clocks with unequal amounts produces complex repeating patterns. 



Proteus 2500 Operation Manual 155 



Programming Basics 
Modulation Destinations 



Modulation 
Destinations 



s*> 



All the modulation 
destinations are summing 
nodes. This means that you can 
connect as many modulation 
sources as you want to a 
destination. Modulation sources 
are simply added algebraically 
— connecting two sources, one 
with a value of -100 and the 
other with a value of + 100 
yields a net value of zero. 



The Patchcords section of the Preset Edit menu is where you connect 
sources to destinations. Each Patchcord has an amount associated with it 
which controls how much modulation is applied. 



L1 PRTCHCORD 
ModWhl -> RTXfade 



#01 
+036 



The Patchcords screen above and the diagram below show how 
modulation sources are connected to destinations. The modulation sources 
can control any of the destinations in the layer. 




Layer 



Z Plane 
Filter 



Fre< ^ X 

■-ffl. 



Gain 




Envelope 
Gen. 



ITTT 



Envelope 
Gen. 



im 




Mod 
Wheel 



1 



0,-f- 



Envelope 
Gen. 



A A A A 



MIDI 
Controls 



± 



Key # 

Velocity 

Gate 



1 



Mod. 
Proc. 



XX 



• Note-on modulation sources, such as key velocity and gate output a 
single value at note-on time. Realtime modulation sources such as 
LFOs, envelope generators and modulation wheels output 
continuously changing values. 

The possible modulation routings are completely flexible as shown in the 
diagram above. Multiple sources can control the same destination, or a 
single source can control multiple destinations. 



156 E-MU Systems 



Programming Basics 
Modulation Processors 



Modulation 
Processors 



Modulation processors are devices which can modify modulation sources 
such as LFOs and envelope generators before they are applied to a desti- 
nation. Modulation processors let you create patches and do tricks which 
would not be possible otherwise. These modulation processors are indepen- 
dently programmable on each of the four layers. 

Switch 

Outputs a digital "1" when the input is greater than "0". 




Switch 

(above zero) 



Summing Amp 

Lets you add several modulation signals together before applying them to a 
destination. This processor can save Patchcords when routing the output 
to multiple destinations. 




-DC 

_n_n_n_n_ 



Lag Processors 

Slows down rapid changes in the input signal. The output "lags" behind the 
input at a pre-programmed rate. There are two lag processors, Lag and Lag 
1. Lag 1 has a longer lag time than Lag 0. 



Lag 
Processor 



Absolute Value 

This function inverts negative input values and outputs only positive 
values. This device is also called a full wave rectifier. 




Absolute 
Value 



Proteus 2500 Operation Manual 157 



Programming Basics 
Modulation Processors 



>0 The value of a digital 
"7 " is equal to the Patchcord 
amount. 



\ 



Summing Amps can be 
useful in complicated patches 
where you want to control a 
combination of modulation 
signals with a single patchcord. 



Diode 

The diode blocks negative input values, passing only positive values. 




/vy\ 



Flip-Flop 

The output of this processor alternates between a digital "1" and digital "0" 
each time the input goes positive from zero or a negative value. With an 
LFO input, the output will be a square wave of half the input frequency. 




Flip-Flop 



Quantizer 

With the input Patchcord set to 100%, the output value is limited to 16 
discrete values. The value of the input Patchcord controls the number of 
steps. The value of the output Patchcord controls the size of the steps. 




#of 
Steps 



Quantizer 




4x Cain 

This processor amplifies the modulation source by a factor of 4. 




Lag Inputs 

The Lag processors can be used as 2 additional summing amps. LagOsum 
and Laglsum are modulation sources which equal the sum of Patchcords 
connected to the Lag in destination. The summing amp is located before 
the lag processor as shown in the following illustration. 



Sum Node 



Lag 




Lag sum 



158 E-MU Systems 



Programming Basics 
Preset Modulation Processors 



Preset 

Modulation 

Processors 

^S Preset Modulation 
Processors start working as soon 
as the preset is selected. The 
Layer Modulation Processors 
take effect only when a key is 
pressed. 



There are also two "Preset Level" modulation processors located in the 
"Preset Patchcords" screen of the Edit menu. It is important to understand 
that although the preset processors originate at the Preset Level Patchcords, 
their output is used in the Layer Patchcords. 

Preset Lag 

Like the Layer Lag processors (described on page 157) the Preset Lag slows 
down rapid changes in the input signal. The output "lags" behind the input 
at a pre-programmed rate. Unlike the layer level lag processors, the preset lag 
takes effect as soon as the preset is selected. In contrast, the layer level lag 
processors begin acting only after a keyboard key has been depressed. The 
Preset Lag also has a Lag Amount input which controls the lag time. Positive 
lag amounts increase the lag time. A MIDI controller (front panel knob) is 
commonly used to control lag amount. 

The preset lag can be used to "spin-up" and "spin-down" an LFO which 
controls some other effect, perhaps left/right panning, pitch, or the filter. A 
MIDI footswitch could be used as the input to the lag which acts to slow 
down the instantaneous change of the switch. The slowly changing output 
value is then routed using a layer patchcord to crossfade between layers or 
change the speed of an LFO. 




ex. footswitch 



Lag Amount 

(+ value = longer) 

Preset Ramp 

This processor generates a positive or negative going slope whenever the 
first key is depressed on the MIDI channel. 



1st Note 
Played 



Preset Ramp 

Positive Rate 



Preset Ramp 

Negative Rate 



original 
value 




original 
value 



time 




time 



1st Note 
Played 



Proteus 2500 Operation Manual 159 



Programming Basics 
Preset Modulation Processors 



The preset ramp instantly resets when all notes have been released and the 
next first key on the MIDI channel is pressed. The Ramp Rate polarity 
(+ or -) determines if the ramp will be positive or negative going. The value 
of the ramp rate sets the increment. Large values produce fast ramps and 
small values produce slow ramps. Multiple inputs can be connected to the 
ramp rate (just like all the other destinations in Proteus 2500). 

The patch below shows an application for the Preset Ramp which generates 
an adjustable decay envelope ONLY on the first note played to bring in the 
sound from another layer. Instead of routing the output to the Amp 
Volume you could just as easily route it to control Pitch, LFO Speed or any 
other destination you can think of. Study this patch if you want to learn a 
few new tricks using the patchcords. 



One Layer 



Initial Setting 
-96 dB (off) 



Real Rocket Science 



Percussion 
Instrument 




Z-Plane 
Filter 




w 


^ 





► R 



>-L 



Decay Time 
(MIDIC) 



Preset 
Cords 



Perc. Amount 
(MIDI H) 



Cord 
+ 100 



Layer 
Cords 



\ 



The combination of the 
DC & Perc. Decay Time Cords 
has the effect of reversing the 
Percussion Decay Time knob. 
The decay time increases as the 
knob is turned up. 



1. DC - Sets initial ramp Fast-Positive (+100) 

2. Decay Knob - Inverted value slows ramp as the knob value is increased. 

3. Ramp Out Cord - Inverts Ramp slope (downward). 

4. Amp Vol - Initial setting is Off (-96dB). Ramp cannot overcome this 
negative bias. 

5. Perc. Amt - When this knob is turned up, the positive bias on the Amp 
is restored so that so that the Ramp can now affect Amp Volume. 

6. Volume Envelope - Fast Attack, Full Sustain, No Release 



160 E-MU Systems 



Programming Basics 
Preset Modulation Processors 



Using the 

Modulation 

Processors 



Modulation processors are inserted into a modulation routing as shown in 
the following diagram. 

The modular analog synthesizers of yesteryear were incredibly flexible, 
partly because processing devices could be connected in any order. 
Modulation processors are designed according to this modular concept. 
They can be linked and used in a wide variety of ways limited only by your 
imagination. Consider the following example: 



Velocity ~ J 



Cord 



Switch 



Switch On when 
Velocity > 



Cord 
Switch value 
is Scaled by 
Cord Amount 




The patch illustrated above is programmed by setting the Patchcord 
screens as shown below. 



L1 PRTCHCORD 
Vel+- -> Switch 



#01 
+100 



L1 PRTCHCORD 
Switch -> Pitch 



#02 
+022 



This particular modulation shifts the overall pitch up a fifth when the key 
velocity exceeds 64. Velocities below 64 play at normal pitch. Notes with 
velocities of 64 and above are raised a perfect fifth. The Velocity "~" source 
scales the played velocity around zero. In other words, low velocities (below 
64) will have negative values and high velocities (64 and above) will be 
positive. A velocity of 64 would be zero. The Switch module only outputs a 
"1" if the input value is greater than zero. This digital "1" value can be 
scaled through the attenuator on the Patchcord to raise or lower the pitch 
by any amount. In this case, a scaling value of +22 raises the pitch by a 
perfect fifth. The amount of the Patchcord on the input to the switch is 
unimportant because ANY velocity value equal or greater than 64 will flip 
the switch. If the input Patchcord amount were a negative value however, 
the action of the velocity would be reversed and velocities less than 64 
would raise the pitch and velocities equal or greater than 64 would play the 
original pitch. 



Proteus 2500 Operation Manual 161 



Programming Basics 
Preset Modulation Processors 



But what if you want the velocity switch point to be something other than 
64? Thanks to modulation processors, it can be done. Here's how. 



Velocity ~ J c 



DC 



Cord 
-21 



Cord 



Switch 



Switch On when 
Velocity > 



J 



Cord 
Switch value 
is Scaled by 
Cord Amount 




Connect the DC level to the input of the switch along with the velocity 
value. Note that more than one modulation source can be applied to the 
input of a processor. 

DC offset adds a fixed value based on the Patchcord Amount setting. If 
applied to the switch along with the velocity it changes the velocity value 
required to trip the switch. By setting the DC amount to a negative 
amount, higher velocity values are required to trip the switch. Setting the 
DC value to a positive value would bring the velocity switch point down. 
The Patchcord screens for this patch are shown below. 



L1 PRTCHCORD 
Vel+- -> 5iDitch 


#01 
+100 






L1 PRTCHCORD 
DC -> Switch 


#02 
-021 








L1 PRTCHCORD 
Switch -> Pitch 


#03 
+022 





162 E-MU Systems 



Programming Basics 
Preset Modulation Processors 



More Examples 



To derive a smooth random function you could route the Pink Noise 
generator through one of the Lag Processors. A smooth random wave is 
useful in small amounts to add a degree of natural variation to timbre when 
routed to filter cutoff. Normal pink noise is low pass filtered audio 
frequency noise with a 3 dB/octave slope to give equal energy per octave. 
Proteus 2500 pink noise is actually more like very low frequency filtered 
noise, but it is perfect for use as a random control source. 



Pink 
Noise 



Lag 
Processor 



Cord 



Lag Smooths 
Pink Noise 



Cord 



Filter 
Cutoff 



Smooth 
Random Function 



The Quantizer can generate interesting whole-tone scales when envelope 
generators or LFOs are routed to the input. The quantizer turns a smoothly 
changing input signal into a series of steps. By routing the output of the 
quantizer to Pitch and adjusting the Patchcord amounts, you can control 
both the number of steps and the pitch interval of each step. 



Number 

of 

Steps 



Size 

of 

Steps 




Quantizer 



Cord 




Cord 



The input Patchcord amount controls how many steps will be generated. 
With a sawtooth wave (LFO+) feeding the input and the Patchcord amount 
set to 100%, sixteen steps are generated. The output Patchcord amount 
controls the size (or interval) of the steps. 

Try setting up the following patch exactly as shown below using your 
favorite preset as a starting point. 





L1 LF01 


5HRPE 
sawtooth 


SYNC 
key sync 








L1 LF01 


RRTE 
0.35Hz 


DELRY VRR 
000 000 





Proteus 2500 Operation Manual 163 



Programming Basics 
Preset Modulation Processors 



V 



The 4x Amp can be used 
to get more steps or increase the 
interval of the Quantizer. 



\ 



Experiment with this 
patch by connecting other 
sources and destinations to the 
Quantizer. 



L1 PRTCHCORD 
LF01+ -> Quantize 



#01 
+030 



L1 PRTCHCORD 
Quantize -> Pitch 



#02 
+100 




This patch generates an ascending arpeggio every time a key is pressed. A 
diagram of the patch is shown below. The patch is very straightforward 
except for the DC offset which was added to bring the pitch down into 
tune. (Sometimes you have to fix a problem, but using the mod processors 
there's usually a way around it to achieve the desired result.) 



LFO+ 



Number 
100% 




-50% 



You can start to see some of the possibilities (and there are many). 
Whenever you find yourself wishing for some esoteric type of control, take 
a minute to think and see if there is a way to achieve the desired result 
using the modulation processors. 



164 E-MU Systems 



Programming Basics 
Dynamic Filters 



Dynamic 
Filters 



The block diagram of the Proteus 2500's signal path is shown below. 




Vol Pan 



To understand how a filter works, we need to understand what makes up a 
sound wave. A sine wave is the simplest form of sound wave. Any 
waveform, except a sine wave, can be analyzed as a mix of sine waves at 
specific frequencies and amplitudes. 




+ wv 




Any waveform can be analyzed as a mixture of sine waves. 

One way to represent complex waveforms is to use a chart with frequency 
on one axis and amplitude on the other. Each vertical line of the chart 
represents one sine wave at a specific amplitude and frequency. 



100 



80 H 
01 
3 60 



40 



20 



40 80 160 360 720 1440 2880 

Frequency 



Proteus 2500 Operation Manual 165 



Programming Basics 
Dynamic Filters 



What is a Filter? 



Most sounds are complex waves containing many sine waves of various 
amplitudes and frequencies. A filter is a device which allows us to 
remove certain components of a sound depending on its frequency. For 

example, a low-pass filter lets the low frequencies pass and removes only the 
high frequencies as illustrated in the following diagram. 



100 



Cutoff Frequency 




Low Pass 
Filter 



40 80 160 360 720 1440 2880.. 

Frequency 



A filter that lets only the high frequencies pass is called a high-pass filter as 
illustrated in the following diagram. 



100 



80 

01 
"§60 

"5. 

£ 40 

< 

20 



Initial Frequency 



Filter Output 



High Pass 
Filter 



40 80 160 360 720 1440 2880... 
Frequency 



166 E-MU Systems 



Programming Basics 
Dynamic Filters 



A filter which only lets a certain band of frequencies pass is called a 
band-pass filter. 



100 



80 

1 60 

"5. 

£ 40 
< 

20 



Center Frequency 



Filter 
Output 



I 



Band Pass 
Filter 



40 80 160 360 720 1440 2880... 

Frequency 



A notch filter is just the opposite of a band-pass filter and is used to 
eliminate a narrow band of frequencies. 

Another control found on traditional filters is called Q or resonance. A 
lowpass filter with a high Q emphasizes the frequencies around the cutoff 
frequency. The following chart shows how different amounts of Q affect 
the low-pass filter response. In terms of sound, frequencies around the 
cutoff tend to "ring" with high Q settings. If a filter with high Q is slowly 
swept back and forth, various overtones are "picked out" of the sound and 
amplified as the resonant peak sweeps over them. Bells and gongs are real 
world examples of sounds which have a high Q. 



m 

3 

■M 

"5. 

E 

< 




Frequency 



Proteus 2500 Operation Manual 167 



Programming Basics 
Dynamic Filters 



Another characteristic of a filter is the number of poles it contains. Tradi- 
tional synthesizer niters were usually either 2-pole or 4-pole niters. The 
Proteus 2500 has selectable 2, 4, and 6-pole low-pass filters. The number of 
poles in a filter describes the steepness of its slope. The more poles, the 
steeper the filter's slope and the stronger the filtering action. The tone 
controls on your home stereo are probably one-pole or two-pole niters. 
Parametric equalizers are usually either two-pole or three-pole niters. 

In terms of vintage synthesizers, Moog and ARP synthesizers used 4-pole 
filters, Oberheim and E-mu synthesizers were famous for their 2-pole filter 
sound. 



01 

-a 

3 





4-pole \ 




\6-pole ^ 


2-pole 


r 


\ Lowpass 


S. Lowpass 



Frequency 

Using a filter, we have a way to control the harmonic content of a sound. 
As it turns out, even a simple low-pass filter can simulate the response of 
many natural sounds. 

For example, when a piano string is struck by its hammer, there are initially 
a lot of high frequencies present. If the same note is played softer, there are 
fewer high frequencies generated by the string. We can simulate this effect 
by routing keyboard velocity to control the low-pass filter. The result is 
expressive, natural control over the sound. 

If you use an envelope generator to control the cutoff frequency of a filter, 
the frequency content can be varied dynamically over the course of the 
note. This adds animation to the sound as well as simulates the response of 
many natural instruments. 



168 E-MU Systems 



Programming Basics 
Dynamic Filters 



Parametric Filters 



A more complex type of filter is called a parametric filter or Swept EQ. A 
parametric filter allows control over three basic parameters of the filter. The 
three parameters are: Bandwidth, Frequency and Gain. The Bandwidth allows 
you to select the width of the range of frequencies to be boosted or cut, the 
Frequency defines the center frequency of the bandwidth, and the Gain 
parameter either boosts or cuts the frequencies within the selected band by 
a specified amount. Frequencies not included in the selected band are left 
unaltered. This is different from a band-pass filter which attenuates 
(reduces) frequencies outside the selected band. 



+18 dB 



0) 
T3 

3 

7= OdB 



Freq 



-18 dB 




Parametric 
Filter 



Frequency 



The parametric filter is quite flexible. Any range of frequencies can be either 
amplified or attenuated. Several parametric sections are often cascaded in 
order to create complex filter response curves. 

If four parametric filter sections were cascaded, it would be possible to 
create the following complex filter response. 

4 Parametric Equalizers 




500 10,000 15,000 20,000 

Linear Frequency - Hertz 

Many natural instruments have complex resonances which are based on 
their soundboard or tube size. The resonance shown above would be impos- 
sible to create using a normal synthesizer filter. 



Proteus 2500 Operation Manual 169 



Programming Basics 
Dynamic Filters 



The Z- Plane Filter 



A Z-plane filter is a filter which can change its function over time. In a 
Z-plane filter, we start with two complex filter types and interpolate 
between them using a single parameter. See the following diagram. 




Morph 



Frequency 



The Z-plane filter has the unique ability to change its function over time. 



Filters A and B represent two different complex filters or "frames." 
Changing a single parameter, the Morph, changes many complex filter 
parameters simultaneously. Following along the Morph axis you can see 
that the filter response smoothly interpolates between the two filters. This 
is the essence of the Z-plane filter. Through the use of interpolation, many 
complex parameters are condensed into one manageable entity. 

Consider, as an example, the human vocal tract, which is a type of complex 
filter or resonator. There are dozens of different muscles controlling the 
shape of the vocal tract. When speaking, however, we don't think of the 
muscles, we just remember how it feels to form the vowels. A vowel is really 
a configuration of many muscles, but we consider it a single object. In 
changing from one vowel to another, we don't need to consider the 
frequencies of the resonant peaks. You remember the shape of your mouth 
for each sound and interpolate between them. 

This Z-plane filter sweep can be controlled by an envelope generator, an 
LFO, modulation wheels or pedals, keyboard velocity, key pressure, and so 
on. In fact, any of the modulation sources can control the Z-plane filter. 

Because creating the complex filtering is difficult and very time consuming, 
we have created 50 different filters and installed them permanently in ROM 
for your use. You simply select and use the niters in a manner similar to 
choosing an instrument. Because there are so many types of instruments 
and niters to choose from, the number of possible permutations is 
staggering. 



170 E-MU Systems 



Programming Basics 
Signal Flow 



Signal Flow 



Going back to the Signal Path diagram for a single channel we can 
reexamine the complete signal path. 



Instrument 

Sample 
Pitch Start 



w 


Z-Plane 
Filter 






W 


Freq Q 




r 


J 




, l 




Filter 
Envelope 




Velocity 




DCA 



Pan 



r\ 



>-R 



Volume 



Volume 
Envelope 



Instrument 

This is the sampled sound wave. The pitch of the instrument can be 
modulated by any modulation source. The sample start point can be 
changed only at the time the note is played. 

Z-Plane Filter 

The Z-Plane Filter is used to shape the harmonic content of an instrument. 
The filter envelope is commonly used to shape the harmonic content 
dynamically over time but the filter frequency can be modulated by any 
source. The Q parameter can be modulated only at note-on time. There are 
50 types of filters available. See "Proteus 2500 Filter Types" on page 196 for 
a complete list of the filters. 

Digitally Controlled Amplifier (DCA) 

Together with the Volume Envelope, the DCA is used to shape the volume 
contour of a sound. The DCA can be controlled by any modulation source. 
Velocity is often used as a modulation source for the DCA so that the harder 
you play the louder the sound becomes. 

Pan 

Adjusts the balance of sound to the left and right channels. Pan can be 
modulated by any modulation source. 



Proteus 2500 Operation Manual 171 



Programming Basics 
MIDI Channels & Real-time Controls 



MIDI Channels 
& Real-time 
Controls 



^> 



The following MIDI 
controls are automatically 
routed in Proteus 2500: 



Pitch Wheel 


pwh 


Modulation Wheel 


01 


Aftertouch 


03 


Pedal 


04 


Volume 


07 


Pan 


10 


Expression 


11 



The MIDI real-time controllers may seem confusing at first, but they are 
really very simple once you understand them. You already know that there 
are 16 MIDI channels per MIDI cable. Each MIDI channel uses three basic 
types of messages; note on/off, preset changes, and continuous controller 
messages. Your MIDI keyboard, in addition to telling Proteus 2500 which 
note was played, can also send real-time control information, which simply 
means control occurring in real-time or "live." (You may be using a MIDI 
device other than a keyboard, but for simplicity's sake we'll presume that 
you are using a keyboard.) Real-time control sources include such things as 
controller knobs, pitch wheels or touchstrips, modulation wheels, control 
pedals and aftertouch. These are used to add more expression or control. 

The front panel control knobs send out real-time controller information on 
separate continuous controller numbers. There is a set of 32 continuous 
controller numbers for each MIDI channel. Some continuous controllers, 
such as modulation wheel, volume, and pan have standardized numbers. 
For example, volume is usually sent on continuous controller #7. The front 
panel controller knobs on are pre-programmed to control the Proteus 2500. 



MIDI 
Channel 2 



MIDI 
Channel 1 






Note 
On/Off 












Program 
Change 










Continuous 
Controllers 







Note 
On/Off 



Program 
Change 



Continuous 
Controllers 



MIDI 
Channel 3 


• • • 




Note 
On/Off 












Program 
Change 










Continuous 
Controllers 







Cli 


MIDI 
lannel 16 




Note 
On/Off 












Program 
Change 














Continuous 
Controllers 









Any MIDI controller can be routed to any modulation destination. First, 
you have to know which controller numbers your keyboard transmits. Most 
modern MIDI keyboards let you select a controller number for each control 
on the keyboard. For example, it may let you select a number from 0-31 for 
the data slider. The realtime controller numbers that the keyboard 
transmits must match the numbers Proteus 2500 is receiving, otherwise 
nothing will happen when you move the controls. 

Suppose you wanted to send the four data sliders on your master keyboard. 
Proteus 2500 can handle up to 16 MIDI controllers (A-P) of your choosing. 
"MIDI A-P" are simply names for the internal connections that link 
external MIDI continuous controllers to the Patchcord section of Proteus 
2500. There are two parts to the connection. First, MIDI controller numbers 
are assigned to the letters A-P in the Controllers menu. Next, the letters A-P 
are connected to synthesizer control parameters in the Patchcord section 
of the Preset Edit menu. The Patchcord Amount scales the amount of each 
controller by a positive or negative value. 



172 E-MU Systems 



Programming Basics 
MIDI Channels & Real-time Controls 



The factory presets have the MIDI A-P controls connected to standard 
synthesizer functions (marked on the front panel). By choosing any four of 
the 16 standard functions, the four sliders on your keyboard will work the 
same on every preset. The chart below shows how this might work if your 
keyboard transmitted the slider settings on MIDI controllers 21-24. 



Control 


MIDI Controller # 


Routing 


Standard Function 


Slider 1 


74 


A 




Controls Filter Frequency 


Slider 2 


71 


B 




Controls Filter Resonance 


Slider 3 


25 


C 




Controls Filter Attack 


Slider 4 


26 


D 




Controls Filter Decay 



rMiDL> 



MIDI 
Menu 



0- 

1 MIDI 

; >> 
si- Controller 

si- A 



\- MIDI 

64- Controller 

95- B 



\: midi 

64- Controller 






1 MIDI 

64- Controller 

95 P 



16 Control 
Knobs 







Preset Edit 
Menu 



Patchcord Destinations 





Amount 



Key Sustain 

Fine Pitch 

Pitch 

Glide 

Chorus Amount 

Sample Start 

Sample Loop 

Sample Retrigger 

Filter Frequency 

Filter Q 

Amplifier Volume 

Amplifier Pan 

Amplifier Crossfade 

Volume Envelope Rates 

Volume Envelope Attack 

Volume Envelope Decay 

Volume Envelope Release 

Filter Envelope Rates 

Filter Envelope Attack 

Filter Envelope Decay 

Filter Envelope Release 

Aux. Envelope Rates 

Aux. Envelope Attack 

Aux. Envelope Decay 

Aux. Envelope Release 

LFO 1 & 2 Rates 

LFO 1 & 2 Trigger 

Lag Processor 

Summing Amp 

Switch 

Absolute Value 

Diode 

Quantizer 

4x Gain 

Cord 1-24 Amount 



FXASend 1-4 
FXBSend 1-4 
Preset Lag In 
Preset Lag Amount 
Preset Ramp Rate 



Preset 
Cords 



MIDI A-P are internal connections which simultaneously carry front panel controller knob 
data and MIDI continuous controller data. 

The 16 controller knobs on the Proteus 2500 front panel work just like 
MIDI real-time controllers. The four controller knobs are permanently 
assigned to controllers A-P. The front panel knob (A-P) and incoming MIDI 
controller messages assigned to that letter, both control the same parameter 
that you select in the Patchcord screen. 



Proteus 2500 Operation Manual 173 



Programming Basics 
Stereo Mix Outputs 



Bank Select 
Commands 



% 



When you press the 
Audition button, the Bank Select 
MSB and LSB are displayed on 
the top line of the display. 



Stereo Mix 
Outputs 



When the original MIDI specification was developed, no synthesizer had 
more than 40 preset locations. At that time being able to select up to 128 
presets didn't seem like much of a limitation. So it was that the original 
MIDI specification provided for the selection of up to 128 presets. 

Musicians wanted MORE presets and so the MIDI specification was later 
amended to include Bank Select Commands. It was decided that Bank 
Select Commands would use Continuous Controllers and 32 to allow the 
selection of up to 16,384 banks of 128 presets (over two million presets). 

Because Bank Selects are implemented using Continuous Controllers, the 
Bank Selections can be made per channel. (This is getting better and better.) 
For each MIDI channel, you can select any of 16,384 banks and then one of 
the 128 presets in the bank. Of course no synthesizer has 16,384 banks 
(yet), but hey, it's nice to know it's possible (for that really BIG project). 

Continuous Controller (CC) is the MSB (most significant byte) and CC 32 
is the LSB (least significant byte). Normally you send both the MSB and LSB 
controllers to implement a bank change. 

Proteus 2500 remembers the MSB and the LSB that were last sent (or last 
changed from the front panel). For example, if you have already set the 
Bank MSB to 04, you need only send the LSB to change banks within the 
Proteus 2500 sound set. See the MIDI Bank Select chart below. 

The selected bank remains selected until you change it (either via MIDI or 
by changing the bank from the front panel). Standard MIDI Program 
Change commands select from 128 presets within the selected bank. 



This feature is useful for adding signal processing (EQ, reverb, etc.) of 
individual sounds prior to final mixdown. 

The routing can be performed according to MIDI channel from the Mix 
Output screen in the Global menu. Simply assign each channel to the 
desired output. 



Global 
Menu 



MIX OUTPUT 
channel 01: Send 2 



To route a particular preset to a Send, first go to the Mix Output screen in 
the Global menu and set the MIDI channel to "Preset". 



174 E-MU Systems 



Programming Basics 
Stereo Mix Outputs 



Global 
Menu 



MIX OUTPUT 
channel 01: Preset 



Next set the Mix Output routing in the preset to the desired output (for 
each layer). Yes, you can send each layer to a different send if you want. 



Preset Edit 
Menu 



L1 MIX OUTPUT 
Send 2 



By sending different amounts of presets to the effects, subtle or striking 
effects can be achieved using the two effect processors. This feature allows 
you to get the most out of two effects since you can have eight different 
mixes. 

For more information, refer to the diagram on the following page or, See 
"Mix Output" on page 128. 



Proteus 2500 Operation Manual 175 



Programming Basics 
Stereo Mix Outputs 



OUTPUT SECTION 
& EFFECTS PROCESSORS 



PRESET 
EDIT MENU 



Mix 
Output 

Send 1 



FX Sends 



^Send 1 15%1 



Hall 1 



i se - d2io% i Effect 

| Send 3 0%] 

| Send 4 0%] ** 



T7^ 



Mix Output 
Ch 1A PRESET 




FX Sends 

HSendl 0%] 



Chorus 



i s '" d2 ° % i Effect 

| Send 3 20%] 



| Send 4 15%1 



B 



jack Detect 



jock Detect 



GLOBAL MENU 



The Mix Output screen in the Global menu assigns each MIDI channel to a 
Send (1-4) or to "Preset". 

The Mix Output screen in the Preset Edit menu is ONLY used if the Global 
Mix Output is set to "Preset". Otherwise the Preset Edit menu Mix Output 
settings are ignored. 



176 E-MU Systems 



Preset Edit Menu 



^ 



While the Preset Edit 
menu is activated, all incoming 
MIDI preset changes on the 
selected channel are ignored. 



<5>& 

If there is no "A " option 
in the Layer field, you must 
enable the "Edit All Layers" 
function in the Global Menu 
(page 134). 



The Preset Edit Menu contains four layers of preset parameters that you can 
modify and then save as preset information in one of the user preset 
locations. There are four instrument layers in the Preset Edit menu. See the 
illustration on page 178 for a description of the Preset Layer model. 

► To Access the Preset Edit Menu 

Press the Preset Edit button, lighting the LED. The Preset Edit Menu screen 
displays the menu page most recently selected since powering up Proteus 
2500. The cursor appears below the first character of the screen heading on 
line one. 

► To Scroll through Layers 

Place the cursor below the layer field. Rotate the data entry control to select 
a layer (1-4). 

You can also select All Layers by choosing "A" in the layer field. When All 
Layers is selected, the existing parameter value for any field will be 
displayed if the values of all four layers are equal. If the values of all four 
layers are NOT equal, the value of layer 1 will be displayed with flashing 
characters. If you change the parameter value, all layers will assume the 
new value and the display will stop flashing. 

► To Scroll through Pages 

Whenever you are in the Preset Edit menu, the sixteen command buttons 
function as "jump" buttons to various screens in the Preset Edit menu, 
which are labelled below each button. Pressing a jump button instantly 
takes you to the first screen in the selected category. Pressing the button 
again takes you to the second screen in the category and so on. Repeated 
pressing will rotate you back to the first screen in the category. 

You can also change pages by placing the cursor below the page title field. 
This will automatically be done when you press the Home/Enter button. 
Rotate the data entry control to scroll through the pages. 

► To Change a Parameter 

Place the cursor below the parameter field. Rotate the data entry control to 
change the parameter value. 



Proteus 2500 Operation Manual 177 



Preset Edit Menu 
Four Layer Architecture 



Preset Name 



>0 You can also select 
characters using the keypads or 
MIDI keyboard. 



Four Layer 
Architecture 



The Preset names consists of two parts: a 3 letter preset category and a 12 
letter preset name. Position the cursor under the character location and use 
the data entry control to change the character. 

The preset category is used in conjunction with the Sound Navigator 
feature. Using the Sound Navigator, a category is selected and the presets in 
that category are listed in alphabetical order. Creating categories makes it 
easier to find specific sounds when you need them. For more information 
on Sound Navigator, see Sound Navigator in Chapter 2: Operations. 



PRESET NRME 

000 1 syn: VOSIM-Voc 



Proteus 2500 provides a 4 layer instrument structure. Each layer is a 
complete synthesizer voice with 50 filter types, over 64 modulation sources, 
more than 64 modulation destinations and 24 patchcords to connect every- 
thing together. In addition, the four layers can be crossfaded or switched by 
key position, velocity or any real-time modulation source. 



Layer 1 




Layer 2 




Layer 3 




>R 



>l 



>R 



>l 



>R 



>*L 



Layer 4 



Instrument Z-Plane Filter 



Y*\ 




^►R 



^►L 



178 E-MU Systems 



Preset Edit Menu 
Selecting Layers 



Selecting Layers 



In most of the Preset Edit screens, the selected layer is shown in the upper 
left corner of the display. Layers 1-4 or All can be selected by positioning 
the cursor on this field and using the data entry control to change the layer. 
In the screen shown below, Layer 1 is selected. 



L1 INSTRUMENT 
0305 bas:Moog Sub 



R0M:2500 



When "All Layers" (A) is selected, the existing parameter value for any field 
will be displayed if all layers are equal. If the layer parameter values are 
NOT equal, the value of Layer 1 will be displayed with flashing characters. 
If you move the data entry control all values will be equal to this new value 
and the parameter value will no longer flash. 



Proteus 2500 Operation Manual 1 79 



Preset Edit Menu 
Defining Layer Parameters 



Defining 

Layer 

Parameters 



Selecting an 
Instrument 



The Preset Edit menu parameters define the four layers and include the 
instrument assigned to the layer, the ranges of the layer, tuning, envelopes, 
niters, and patch cords. These parameters are defined for each layer on an 
individual basis (based on the currently selected layer). See "Common 
Preset Parameters" on page 209 for global preset settings. 

The Instrument parameter defines which of the available instrument 
sounds is played by the current layer. 



ROM SIMM Name 



L1 INSTRUMENT 



ROM: 3500 



0078 bas : Booty Q 2 
- V = 



T 



Instrument Category 



Instrument Name 



To select an instrument for the selected layer(s), move the cursor to the 
bottom line of the display and change the instrument using the data entry 
control. 



Sound Navigator 

Sound Navigator also works to help select Instruments although the 
category names are predefined. When the cursor is on the Instrument 
Category field, turning the data entry control selects different instrument 
categories. The Name Field will change to show the first instrument in each 
category. Move the cursor to the instrument name to select instruments in 
the selected category. 



L1 INSTRUMENT 

0078 bas : Booty Q 2 
= V 



ROM: 2500 



7* 



1. Choose Category x 

2. Scroll through Instruments 

Selecting Categories of Instruments using Sound Navigator. 



180 E-MU Systems 



Preset Edit Menu 
Defining Key Range 



Defining Key Range 



The Key parameter defines the range on the keyboard used by the current 
layer. The Key range is from C-2 through G8. 



Middle C 

i 

i 
C-2 C-1 CO CI C2 C3 C4 CS C6 C7 C8 G8 





To define the range, set the low key value and the high key value. 

You can select key numbers by simply pressing the desired keyboard key 
when the cursor is positioned on the low or high key field in the display. 



Fade In 



Fade Out 



LI 



KEY: 



LD 
C-2 



FRDE 
000 



HIGH 
C2 



FRDE 
012 



Layers can be crossfaded according to key position by adjusting the Low 
and High Fade parameters. The first Fade field determines how many 
semitones it takes the layer to Fade In from the low key. The second Fade 
field determines how many semitones it takes the layer to Fade Out to the 
high key. The screen shot above and the diagram below show Layer 1 being 
faded out over a one octave range. 



C-2 



C8 G8 




Layer 4 



With a High Fade value of zero (as in layer 3 of the diagram), the layer 
simply switches off at the high key. 



Proteus 2500 Operation Manual 181 



Preset Edit Menu 
Defining Key Range 



^ 



You can select key 
numbers by simply pressing the 
desired keyboard key when the 
cursor is positioned on the low 
or high key field n the display. 



► To Switch Layers According to Key Position 

The Key Range parameter allows you to create a "split" keyboard with up to 
four sounds adjacent to each other on the keyboard. This is shown in the 
diagram below. 



CO 

I 



CI 

I 



C2 



C3 

I 



C4 



C5 

I 



C6 

I 



Layer 1 



Layer 2 



Layer 3 



Layer 4 



Switch 



Switch 



Switch 



Just assign the low and high key range for each of the four layers with Fade 
set to zero. Set the Low and High Keys so they don't overlap other layers. 





L1 KEY: 


LO 

co 


FRDE 
000 


HIGH 
F1 


FRDE 
000 






L2 KEY: 


LO 
F#l 


FRDE 
000 


HIGH 
C3 


FRDE 
000 






L3 KEY: 


LO 
C#3 


FRDE 
000 


HIGH 
F#M 


FRDE 
000 






LM KEY: 


LO 
GM 


FRDE 
000 


HIGH 
C6 


FRDE 
000 





If two layers do overlap, both will play as shown in the next example. 



182 E-MU Systems 



Preset Edit Menu 
Defining the Velocity Crossfade Range 



Defining the Velocity 
Crossfade Range 



► To Stack Layers 

If the ranges of two or more Layers overlap it is called stacking layers. All 
Layers assigned to a key sound when the key is played. This is shown in the 
following diagram. It's very easy to stack layers. Simply duplicate the key 
ranges for any layers you want to stack. 



CO 

I 



CI 

I 



C2 

l 



C3 

l 



C4 



C5 

I 



C6 

l 





Layer 1 
Layer 2 



LI 



KEY: LO 
CO 



FRDE 
000 



HIGH 
C6 



FRDE 
000 



L2 KEY: LO FRDE HIGH FRDE 
CO 000 C6 000 



Velocity is a measure of how hard the key is pressed. Velocity Range lets you 
control the volume of the layers using velocity. Using this function you can 
crossfade or cross-switch between layers according to how hard you play 
the keyboard. 

Set the velocity range of the layer by defining the high and low velocity 
values. Values range from (off) to 127 (hardest). 



I? 



VEL: 



LO 
36 



FRDE 
012 



HIGH 
96 



FRDE 
012 



Proteus 2500 Operation Manual 183 



Preset Edit Menu 
Defining the Velocity Crossfade Range 



The Fade fields define the velocity crossfade range for the currently selected 
layer. The first Fade field defines the Fade In range for the low velocity 
value. The second defines the Fade Out range for the high velocity value. 



Velocity 



127 




Switch 



With soft playing, Layer 1 sounds. As you play harder, Layer 1 gradually fades out and 
Layer 2 fades in. When the keyboard is played hard, Layer 3 plays. 



► To Set Up a Velocity Crossfade Between Layers 

Set the velocity fades so that layer 1 fades out with higher key velocity 
while layer 2 fades in. At a velocity of 64, the two sounds are equal volume. 
You may want to adjust the fade in and fade out points to achieve a natural 
sounding crossfade. These parameters vary depending on the sounds. 



Increasing Velocity 




127 



Layer 1 



LI 



VEL: LO 
000 



FRDE 
000 



HIGH 
127 



FRDE 
127 




184 E-MU Systems 



Preset Edit Menu 
Defining the Real-time Crossfade Range 



Defining the 
Real-time Crossfade 
Range 



The Real-time Crossfade window lets you control the volume of the four 
layers using a real-time controller such as a front panel knob, a pedal or an 
LFO or Envelope generator. The controller is defined by the Patchcord 
parameter (see "Patchcords" on page 205). 

The Fade fields define the crossfade range in velocity for the currently 
selected layer. The first Fade field defines the Fade In amount for the low 
Real-time Control value. The second defines the Fade Out amount for the 
high Real-time Control value. The Fade value range is from to 127. 



Realtime Control Value 



127 



Layer 1 



Layer 2 Layer 3 



Layer 4 



Fade 



Fade 



Switch 



After the Ranges and Fades have been adjusted for each layer in the Real- 
time Crossfade screen, you must assign a real-time controller to RTXfade 
(Real-time Crossfade) on each Layer in the Patchcord screen. Set the 
Patchcord Amounts to +100. 



► To Set Up a Real-time Crossfade Between Two Layers 

As the real-time control (knob, pedal, LFO, etc.) is increased, Layer 1 fades 
out as Layer 2 fades in. This example only uses two of the possible four 
layers. Refer to the screen diagrams below. 





L1 RT: LO 
000 


FRDE 
000 


HIGH 
127 


FRDE 
127 








L2 RT: L0 
000 


FRDE 
127 


HIGH 
127 


FRDE 
000 





1 . Select a preset. 

2. Press the Preset Edit button to access the Preset Edit menu. 

3. Go to the Instrument page and select instruments for Layers 1 and 2. 



Proteus 2500 Operation Manual 185 



Preset Edit Menu 
Defining the Real-time Crossfade Range 



4. Press Enter, then use the data entry control to advance to the Real-time 
Crossfade page. 

5. Define the High and Low range of each Layer. In this example the entire 
range of 0-127 is used. 

6. Define the Fades for each Layer. This is just an initial setting. The Range 
and Fade parameters may have to be adjusted later to get a smooth 
crossfade. 

7. Press Home/Enter and use the data entry control to advance to the 
Patchcord page. Select Layer 1 . 

8. Select the modulation source for the crossfade (knob, pedal, LFO, 
Envelope) and set the destination to RTXfade. Set the Cord Amount to 
+100. 

9. Select Layer 2. Select the same source and destination for the crossfade 
and set the Cord Amount to +127. 



L1 PRTCHCORD 

MidiR -> RTXfade 



#01 
+100 



10. Play the keyboard while adjusting the real-time controller. Go back to 
the Real-time Crossfade screens to fine tune the crossfade if necessary. 
Decreasing the fade size will narrow the region where both layers are 
sounding. 



► To Randomly Cross-Switch Between Four Layers 

In certain situations, you may want to switch between several layers 
randomly. Crossfade Random is a modulation source specifically designed 
to handle this situation. Unlike the other random sources, Crossfade 
Random generates one random number for all layers each time a key is 
pressed. 

To set up a four layer Cross-Switch, simply assign each of the four layers to 
a different Real-time Crossfade range, then assign XfdRnd to RTXfade in 
the Patchcords for each layer. 



Realtime Control Value 





Switch 



48 


64 


80 96 


112 


127 


ayer 2 




Layer 3 


Layer 4 






Switch 


Switch 







186 E-MU Systems 



Preset Edit Menu 
Defining the Real-time Crossfade Range 



1 . Press the Preset Edit button to access the Preset Edit menu. 

2. Go to the Instrument screen and select Instruments for Layers 1 
through 4. 

3. Press Enter, then use the data entry control to advance to the Real-time 
Crossfade page. 





LI 


RT: 


LO 
000 


FRDE 
000 


HIGH 
031 


FRDE 
000 








L2 


RT: 


LO 
032 


FRDE 
000 


HIGH 
063 


FRDE 
000 








L3 


RT: 


LO 
064 


FRDE 
000 


HIGH 
095 


FRDE 
000 








LM 


RT: 


LO 
096 


FRDE 
000 


HIGH 
127 


FRDE 
000 





4. Define the High and Low range of each Layer as shown above. 

5. Press Home/Enter and use the data entry control to advance to the 
Patchcord page. Select Layer 1. 

6. Select XfdRnd as the modulation source and RTXfade as the desti- 
nation. Set the Cord Amount to +100. 

7. Repeat step 6 for the remaining three layers. 



Proteus 2500 Operation Manual 187 



Preset Edit Menu 
Transposing the Instrument 



Transposing the 
Instrument 



L1 PRTCHCORD 
XfdRand -> RTXfade 



#01 
+100 



8. That's it! Now set each Layer up the way you want. Try radically 

different instruments, filter settings, or tunings. Or you can make each 
layer just slightly different for a more natural effect. Try adjusting the 
Fades or overlapping the ranges if you want more than one layer to play 
at once. 



The Transpose parameter lets you transpose the key of the current layer's 
Instrument. Transpose works by shifting the keyboard position in semitone 
intervals relative to middle C. Use this parameter to transpose different 
layers apart by semitone intervals. For example, by transposing one layer by 
+7 semitones, it will track other layers at a perfect fifth interval. 



C-2 



c-i 



CO 



ci 



C2 



C3 



C4 



C5 



C6 



C7 



C8 G8 



The range of transposition is -36 to +36 semitones. 



L1 JRRNSPOSE 
+36 semitones 



188 E-MU Systems 



Preset Edit Menu 
Tuning 



Tuning 



The Tuning parameter changes the pitch of the key in semitone and 1/64 
semitone intervals. 



L1 TUNING 
Coarse: +36 



Fine: 



+63 



Use the Coarse field to shift the tuning by semitone intervals. Use the Fine 
field to shift tuning by 1/64 semitones (or 1.56 cents) intervals. 



Background: Transpose vs. Coarse Tuning 

Transpose works by shifting the keyboard assignment of the Instrument (as 
if you were sliding the keyboard up and down with the Instrument 
remaining in the same position). Coarse Tuning keeps the instrument 
placement on the keyboard and actually tunes the samples up using a 
digital process called interpolation. Use Course Tuning on drum instru- 
ments to change the pitch while keeping sample placement constant. 
Coarse Tuning can also be useful to slightly change the timbre of the 
instrument. 



Amplifier 



This parameter sets the initial volume and pan position of the current layer. 
These values can be changed using any Real-time Controller set up in the 
Patchcords. The value range for the volume is from -96 dB to +10 dB. dB 
is the default setting. Routinely turning the volume up to +10 dB is not 
recommended because it doesn't allow other modulation sources to 
increase the volume further. 



L1 RMPLIFIER 
Volume: +10dB 



Pan: M8l 



This field determines the initial Pan value for the current layer. The value 
range for Pan is from 64L to (left) and to 63R (right). Pan adjusts the 
volume into the left and right output channels relative to the Pan setting in 
the main Preset Select screen (see "Channel Pan" on page 45). So, if you, for 
example, set the Pan value in the Preset Select screen to 64L and set this 
Pan value to 63R, the actual pan amount would be as these two pan 
parameters are relative to each other. 



Proteus 2500 Operation Manual 189 



Preset Edit Menu 
Volume Envelope 



Volume Envelope 



\ 



Factory Mode is useful 
for Instruments containing 
multiple drums, since each drum 
can have its own envelope 
settings. 

A factory drum kit envelope 
actually contains a separate 
envelope for every voice on every 
key instead of a single global 
envelope. 



&6 

If two adjacent segments 
have the same level in a "time- 
based" envelope, the segment 
will be skipped. Adjacent 
segments must have different 
levels for the rate control to 
work. 



An envelope can be described as a "contour" which is used to shape the 
sound over time. The Volume Envelope controls the volume of the sound in 
the current layer over time. The way the volume of a sound evolves has a 
profound effect on how we perceive the sound. 

Each instrument has its own Factory preset Volume Envelope setting. The 
Volume Envelope allows you to program your own envelope settings. 



Selecting the Mode 

The Mode field determines whether the layer will use the instrument's 
default envelope (Factory) or use the user-programmed Volume Envelope. 
There are three mode options and repeat. 

• Factory: Uses the factory preset envelope contained in each instrument. 
If you select the "Factory" mode, the Volume Envelope parameters are 
disabled and the factory defined settings are used instead. 



L1 VOLUME ENVELOPE 
Mode: factory 



• Time-based: Defines the Volume Envelope rates from to 127 (approxi- 
mately 1 ms to 160 seconds). The Master clock has no affect on time- 
based rates. 

• Tempo-based: The Volume Envelope times vary based on the master 
tempo setting. Note values are displayed instead of a number when the 
time corresponds to an exact note value. Tempo-based envelopes are 
useful when using external sequencers and arpeggiators because the 
envelope rates compress and expand according to the Master Tempo set- 
ting, keeping the envelopes in sync with the sequence or arpeggio. 



Tempo-Based Envelopes 




■ = Initial Setting 

= Increase Master Tempo 

■ = Decrease Master Tempo 

Tempo-based envelope rates change according to the Master Tempo rate. 



190 E-MU Systems 



Preset Edit Menu 
Volume Envelope 



S*> 



See the Programming 
Basics section of this manual for 
detailed information about how 
the Envelopes work. 



If the Release 2 level is 
set at a value other than zero, 
the note will continue to sound 
after the key is released. This 
might be useful for drone effects, 
but the channel won't stop 
sounding until all channels are 
used up. 



Defining the Volume Envelope 

The Volume Envelope controls the volume of the layer over time. The 
Volume Envelope has six stages to the contour: Attack 1, Attack 2, Decay 1, 
Decay 2, Release 1 and Release 2. When a key is pressed, the Envelope goes 
through the first four stages. If you continue to hold down the key the 
envelope holds at the Decay 2 level. When the key is released, the envelope 
continues through the Release stages ending at the Release 2 level. 



L1 VOLENV 
Rttack 1 



RRTE 
84 



LEVEL 
100% 



As soon as the Attack 1 level is reached, the Attack 2 phase begins. When 
the Attack 2 Level is reached, the Decay 1 phase begins. When the key is 
released, the envelope immediately jumps to the Release 1 stage, then the 
Release 2 stage finally ending at the Release 2 level. 

If you have selected the factory mode, the Volume Envelope parameter 
screen looks like the following illustration. 



L1 VOLENV RRTE 

(using factory envelope) 



LEVEL 




Key 
Down 



Key 
Released 



On the Volume Envelope, levels can only be set to positive values. 
The value range is from to +100. 



Proteus 2500 Operation Manual 191 



Preset Edit Menu 
Chorusing the Layer 



Chorusing the Layer 



&6 

^^ WARNING: Because it 

works by doubling instruments, 
Chorusing halves the number of 
notes you can play. 



Sound Start Offset 
and Delay 



Chorusing "thickens" the sound by doubling the sound in stereo and then 
detuning it. Every layer with chorus turned on uses twice the polyphony 
for that layer. 



L1 CHORUS 
off 



WIDTH 
100% 



The first field in this screen turns Chorus On or Off and allows you to adjust 
the amount of detuning (1 to 100%). The Width parameter controls the 
stereo spread. 0% reduces the chorus to mono and 100% provides the most 
stereo separation. 



Sound Start sets where the instrument begins playing when you hit a key. 
Setting the Start Offset amount to "0" plays the sample from the beginning. 
Higher values move the Sample Start Point further into the sample toward 
the end. There is also a Patchcord source which can be used to change the 
Sound Start point at note-on time. 



L1 SOUND 



STRRT 
127 



DELRY 
127 




Controlling the Sound Start using Key Velocity (< Amt -) brings in the attack of the wave 
only when you play hard. This is especially effective with percussion instruments. 

Delay defines the time between when you hit a key (note-on) and the onset 
of the current layer's note and the start of the envelopes (if applicable). 
Delay values below zero are Tempo-based values, meaning the time is based 
on the Master Tempo setting. Note values are displayed by adjusting the 
Delay Time value below zero. The sound will be delayed by the selected 
note value based on the master clock. 



192 E-MU Systems 



Preset Edit Menu 
Non-Transpose Mode 



Non-Transpose 
Mode 



Solo Mode 



X 



In order to define a 
monophonic glide (see the 
Portamento parameter), you 
must be in Solo mode. 



This function turns keyboard transposition On or Off for the current layer. 
With Nontranspose "on," the keyboard will not control the pitch of the 
instrument. This is a useful function for drones, attack "chiffs," or other 
sound effects which you may not want to track the keyboard. 



L1 N0NTRRN5P05E 
off 



Provides the playing action of a monophonic instrument such as a lead 
synthesizer by preventing more than one note from sounding at once. 
There are eight different solo modes provided. Try setting up different 
layers with different solo mode and glide rates or combine solo mode with 
polyphonic playing modes. 



L1 SOLO MODE 
synth (low) 



The Solo modes are: 

Multiple Trigger: Last note priority. No key-up action. Retriggers 
envelopes and samples when a key is pressed. 

Melody (last): Last note priority. No key-up action. 

First solo note: Envelopes start at Attack segment from zero. Samples 
start at the beginning. 

If previous note is releasing: Envelopes start at Attack segment, but from 
current level. Samples start at the beginning. 

When playing "Legato": Envelopes continue from current segment and 
level. Samples start at the loop or the beginning if unlooped. 

Melody (low): Same as Melody (last), but with low note priority. Newly 
played keys which are higher than the lowest solo key held do not sound. 

Melody (high): Same as Melody (last), but with high note priority. Newly 
played keys which are lower than the highest solo key held do not sound. 

Synth (last): Similar to Melody (last) but this mode has key-up action. 
When you release the currently sounding solo key while holding other keys 
down, the highest held solo key sounds in a Legato fashion. 



Proteus 2500 Operation Manual 193 



Preset Edit Menu 
Assign Group 



Assign Group 



Synth (low): Same as Synth (last) but with low note priority When you 
release the currently sounding solo key while holding other keys down, the 
lowest held solo key sounds in a Legato fashion (MiniMoog). 

Synth (high): Same as Synth (last) but with high note priority When you 
release the currently sounding solo key while holding other keys down, the 
highest held solo key sounds in a Legato fashion. 

Fingered Glide: Same as Synth (last), except that Glide is disabled when 
playing Staccato, enabled when playing Legato. 

Use the Assign Group parameter to assign a certain number of channels to 
each layer. By assigning all voices in the preset to assign groups, important 
parts are protected from being "stolen" by more recently played keys. Or 
you can assign a voice, such as an open high hat, to a mono channel so it is 
cancelled by a closed high hat on the same mono channel. Layers rotate 
within their assigned "bin" of channels, not interfering with other bins. 




The modes are: 

Poly All: Notes are played polyphonically with dynamic channel 
assignment using all 64 channels. 

Poly 16 A-B: Two bins of 16 channels each. Notes are played polyphoni- 
cally with dynamic channel assignment using no more than 16 channels. 

Poly 8 A-D: Four bins of 8 channels each. Notes are played polyphonically 
with dynamic channel assignment using no more than 8 channels each. 

Poly 4 A-D: Four bins of 4 channels each. Notes are played polyphonically 
with dynamic channel assignment using no more than 4 channels each. 

Poly 2 A-D: Four bins of 2 channels each. Notes are played polyphonically 
with dynamic channel assignment using no more than 2 channels each. 

Mono A-l: Nine monophonic channels. Any layers assigned to the same 
letter interrupt each other without affecting other layers. 



194 E-MU Systems 



Preset Edit Menu 
Glide 



Glide 



Glide creates a smooth transition from one note to the next instead of the 
normal instantaneous change in pitch when a new key is pressed. This 
effect is commonly heard on slide guitars, synthesizers and violins. 



L1 GLIDE RRTE 
0.000 sec/oct 



CURVE 
linear 



The front panel Glide Button LED comes on when the any layer of the 
current preset has a glide rate greater than 0.000 seconds (regardless of if a 
Patchcord is connected or not). Pressing the button turns the LED and 
glide off. Pressing the front panel glide button when all layers are set to a 
glide of 0.000 turns glide on with a rate of 0.142 seconds/octave. 

The Glide Rate parameter defines the time it takes to glide to the new pitch 
(the larger the value, the slower the glide rate) The glide rate value range is 
from through 32.738 seconds (zero means off). 

The Glide Curve describes how the glide accelerates as it slides between 
notes. Because of the ear's non-linear response to pitch, a linear glide 
sounds slow at the beginning and speeds up toward the end. Exponential 
curves actually sound smoother and more linear. Eight exponential curves 
are provided. Choose one that suits your style. 




Last 


New 


Last 


New 


Last 


New 


Note 


Note 


Note 


Note 


Note 


Note 



Glide can be either polyphonic or monophonic depending of the state of 
Solo Mode. 



► To Set up a Glide Rate Knob: 

1. Set at least one layer to the minimum setting of 0.002 sec/oct. (This 
forces the Glide LED to come on.) 

2. Connect the MIDI controller of your choice to Glide Rate on the layers 
you'd like to glide. Adjust the Cord Amount for the desired range. 

3. Disconnect the MIDI controller from whatever else it was connected to 
before you started mucking about. 

4. The Glide button turns Glide on/off and the knob controls the rate. 



Proteus 2500 Operation Manual 195 



Preset Edit Menu 
Z-Plane Filters 



Z- Plane Filters 



Proteus 2500 Filter 
Types 



Filter Types 

LPF Low-pass filter 

PHA Phaser 

HPF High-pass filter 

FLG Flanger 

BPF Band-pass filter 

VOW Vowel/ formant 

EQ+ EQ boost 

EQ- EQ cut 

SFX Special Effect 



A filter is a device which changes the output of a signal (sound) by 
removing certain elements of the signal based on the frequency and 
amplitude. The "Order" of a filter defines the number of filter elements it 
contains. The more elements, the more complex the filter. 

Proteus 2500 contains 50 different types of E-MU's celebrated Z-plane 
niters. In addition to the standard Low pass, High pass and Band pass filters, 
Proteus 2500 contains Swept Octave Equalizers, Phasers, Flangers, Vocal 
Formant Filters, and digital models of classic synthesizer niters. 

In the filter chart below you will notice that the "Order" of the filters varies 
from 2 to 12 order. Higher order filters have more sections and can produce 
more complex formants. Proteus 2500 can produce 128 niters of up to 6th 
order or 64 niters of 12th order complexity. Therefore, if you decided to use 
all 12th order niters, Proteus 2500 would be limited to 64 voices. 

This screen allows you to choose the type of filter for the current layer. 



L1 FILTER 
Phazer 2 EM 



Ord 
6 



Type 
PHR 



Filter Name 


Order 


Type 


Smooth 


02 


LPF 


Classic 


04 


LPF 


Steeper 


06 


LPF 


MegaSweepz 


12 


LPF 


EarlyRizer 


12 


LPF 


Millennium 


12 


LPF 


KlubKlassik 


12 


LPF 


BassBox-303 


12 


LPF 


Shallow 


02 


HPF 


Deeper 


04 


HPF 


Band-pass 1 


02 


BPF 


Band-pass2 


04 


BPF 



Description 

Lypical OB type low-pass filter with a shallow 
12 dB/octave slope. 

4-pole low-pass filter, the standard filter on 
classic analog synths. 24 dB/octave rolloff. 

6-pole low-pass filter which has a steeper slope 
than a 4-pole low-pass filter. 
36 dB/octave rolloff! 

"Loud" LPF with a hard Q. Lweeters beware! 

Classic analog sweeping with hot Q and 
Lo-end. 

Aggressive low-pass filter. Q gives you a 
variety of spiky tonal peaks. 

Responsive low-pass filter sweep with a wide 
spectrum of Q sounds 

Pumped up lows with TB-like squelchy Q 
factor. 

2-pole high-pass filter. 12 dB/octave slope. 

Classic 4-pole high-pass filter. Cutoff sweep 
progressively cuts 4th Order High-pass. 

Band-pass filter with 6 dB/octave rolloff on 
either side of the passband and Q control. 

Band-pass filter with 12 dB/octave rolloff on 
either side of the passband and Q control. 



196 E-MU Systems 



Preset Edit Menu 
Proteus 2500 Filter Types 



Filter Name 


Order 


Type 


ContraBand 


06 


BPF 


Swept l>loct 


06 


EQ+ 


Swept2>loct 


06 


EQ+ 



Swept3>loct 06 



Ooh-To-Aah 



06 



EQ+ 



DJAlkaline 


12 


EQ+ 


AceOfBass 


12 


EQ+ 


TB-OrNot-TB 


12 


EQ+ 


BolandBass 


12 


EQ+ 


BassTracer 


12 


EQ+ 


RogueHertz 


12 


EQ+ 


RazorBlades 


12 


EQ- 


RadioCraze 


12 


EQ- 


AahAyEeh 


06 


VOW 



VOW 



MultiQVox 


12 


VOW 


Ooh-To-Eee 


12 


VOW 


TalkingHedz 


12 


VOW 


Eeh-To-Aah 


12 


VOW 


UbuOrator 


12 


VOW 


DeepBouche 


12 


vow 


PhazeShiftl 


06 


PHA 



Description 

A novel band-pass filter where the frequency 
peaks and dips midway in the frequency range. 

Parametric filter with 24 dB of boost or cut and 
a one octave bandwidth. 

Parametric filter with 24 dB of boost or cut. The 
bandwidth of the filter is two octaves wide at 
the low end of the audio spectrum, gradually 
changing to one octave wide at the upper end. 

Parametric filter with 24 dB of boost or cut. The 
bandwidth of the filter is three octaves wide at 
the low end of the audio spectrum, gradually 
changing to one octave wide at the upper end. 

Band accentuating filter, Q shifts "ring" 
frequency. 

Bass-boost to bass-cut morph 

Great Bassline "Processor." 

Constant bass boost with mid-tone Q 
control. 

Low Q boosts bass. Try sawtooth or square 
waveform with Q set to 115. 

Bass with mid-range boost and smooth Q. 
Sweep cutoff with Q at 127. 

Cuts a series of frequency bands. 
Q selects different bands. 

Band limited for a cheap radio-like EQ 

Vowel formant filter which sweeps from "Ah" 
sound, through "Ay" sound to "Ee" sound at 
maximum frequency setting. Q 
varies the apparent size of the mouth cavity. 

Vowel formant filter which sweeps from "Oo" 
sound, through "Oh" sound to "Ah" sound at 
maximum frequency setting. 
Q varies the apparent size of mouth cavity. 

Multi-Formant, Map Q To velocity. 

Oooh to Eeee formant morph. 

"Oui" morphing filter. Q adds peaks. 

"E" to "Ah" formant movement. 
Q accentuates "peakiness." 

Aah-Uuh vowel with no Q. Raise Q for throaty 
vocals. 

French vowels! "Ou-Est" vowel at low Q. 

Recreates a comb filter effect typical of phase 
shifters. Frequency moves position of notches. 
Q varies the depth of the notches. 



Proteus 2500 Operation Manual 197 



Preset Edit Menu 
Proteus 2500 Filter Types 



Description 

Comb filter with slightly different notch 
frequency moving the frequency of notches. 
Q varies the depth of the notches. 

Phasey movement. Try major 6 interval and 
maximum Q. 

Accentuates harmonics at high Q. 
Try with a sawtooth LFO. 

Contains three notches. Frequency moves fre- 
quency and spacing of notches. 
Q increases flanging depth. 

Smooth sweep flanger. Good with vox waves. 

Directional Flanger. Poles shift down at low Q 
and up at high Q. 

Filter inverts at mid-Q. 

Permanent "Ringy" Q response. 
Many Q variations. 

High resonance nasal filter. 

Great analog Q response. Wide tonal range. Try 
with a sawtooth LFO. 

Low boost for basslines. Q goes to 
distortion at the maximum level. 

Violent mid Q filter! Take care with Q 
values 40-90. 

Highly resonant harmonic peaks shift in 
unison. Try mid Q. 

Midway between wah & vowel. Strong 
mid-boost. Nasty at high Q settings. 

Nasty clipped distortion. Q functions as 
mid-frequency tone control. 

Bat phaser from the Emulator 4. 

Ringing Flange filter. Q "tunes" the ring 
frequency. 



Filter Parameters 

The Freq and Q parameters control various elements of the filter depending 
on the type of filter used. See the table in the Filter Types section for details 
about what the Freq and Q fields control in each filter. 



Filter Name 


Order 


Type 


PhazeShift2 


06 


PHA 


FreakShifta 


12 


PHA 


CruzPusher 


12 


PHA 


FlangerLite 


06 


FLG 


AngelzHairz 


12 


FLG 


DreamWeava 


12 


FLG 


MeatyGizmo 


12 


REZ 


DeadRinger 


12 


REZ 


ZoomPeaks 


12 


REZ 


AcidRavage 


12 


REZ 


BassOMatic 


12 


REZ 


LucifersQ 


12 


REZ 


ToothComb 


12 


REZ 


EarBender 


12 


WAH 


FuzziFace 


12 


DST 


BlissBatz 


06 


SFX 


KlangKling 


12 


SFX 



L1 FILTER 
Freq: 255 



Q: 019 



198 E-MU Systems 



Filter Envelope 



Preset Edit Menu 
Filter Envelope 



The Filter Envelope is normally used to control the filter frequency and has 
six stages. Unlike the Volume Envelope, the Filter Envelope must be 
patched to the Filter Frequency using a Patchcord. In this respect, it can be 
thought of as a general purpose envelope generator which is normally 
patched to control the filter. The Filter Envelope Levels can be negative as 
well as positive. 

There are three mode options: 

• Time-based: Defines the Filter Envelope rates from to 127 (approxi- 
mately 1 ms to 160 seconds). The Master clock has no affect on time- 
based rates. 



L1 FILTENV 
Rttack 1 



RRTE 
84 



LEVEL 
100% 



• Tempo-based: The Filter Envelope times vary based on the master tempo 
setting and are displayed in values such as 1, 2, 3, etc. Note values are 
displayed instead of a number when the time corresponds to an exact 
note value. Tempo-based envelopes are useful when using arpeggiators 
and sequencers because the envelope rates compress and expand accord- 
ing to the Master Tempo setting, keeping the envelopes in sync with the 
music. See the illustration on page 152. 



L1 FILTENV 
Rttack 1 



RRTE 
1/M 



LEVEL 
100% 



• Envelope Repeat: The Envelope Generators can also be made to repeat. 
When the envelope repeat function is On, the Attack (1&2) and Decay 
(1&2) stages will continue to repeat as long as the key is held. As soon as 
the key is released, the envelope continues through its normal Release 
stages (1 & 2). For more information see page 152. 

► To Turn on Envelope Repeat: 

1 . Move the cursor until it is underneath the Mode field as shown below. 



L1 FILTER ENVELOPE 
Mode: time-based 



2. Turn the data entry control clockwise. The lower line changes to: 



Proteus 2500 Operation Manual 199 



Preset Edit Menu 
Auxiliary Envelope 



S*> 



See the Programming 
Basics section of this manual for 
detailed information about how 
the Envelopes work. 



% 



The default Patchcord 
settings connect the Filter 
Envelope to Filter Frequency but 
the envelope can be routed to 
any real-time control destination 
using a Patchcord. 



Auxiliary Envelope 



L1 FILTER ENVELOPE 
Repeat: off 



3. Move the cursor underneath the on/off field, then turn the data entry 
control clockwise so that Repeat is On. 



Defining the Filter Envelope 

The Filter Envelope controls the filter frequency of the layer over time. The 
Envelope has six stages to the contour: Attack 1, Attack 2, Decay 1, Decay 2, 
Release 1 and Release 2. When a key is pressed, the Envelope goes through 
the first four stages. If the key continues to be held, the envelope holds at 
the Decay 2 level. When the key is released, the envelope immediately 
jumps to the Release 1 stage, then the Release 2 stage finally ending at the 
Release 2 level. 



+100 



Sustain 




-100 

Key Down 



Key Released 



The Auxiliary Envelope is a supplementary general purpose envelope that 
can be routed to any real-time control destination in the Patchcords. It is 
identical to the filter envelope generator. See "Filter Envelope" on page 199 
for full details. 



200 E-MU Systems 



Preset Edit Menu 
Low Frequency Oscillators (LFOs) 



Low Frequency 
Oscillators (LFOs) 



A Low Frequency Oscillator or LFO, is simply a wave that repeats at a slow 
speed. Proteus 2500 has two LFOs per layer identified on the display as 
LFOl and LF02. 

An LFO can be routed to any real-time control destination using a 
Patchcord. LFOs have a myriad of uses, some of which probably haven't 
been thought of yet. The following examples show a few common uses. 

• Control the pitch of the sound (LFO -> Pitch). This effect is called 
"vibrato" and is an important performance tool. Many presets use this 
routing with the modulation wheel controlling "how much" modula- 
tion is applied. 

• Create a "tremolo" effect by routing the LFO to control the volume 
(LFO -> Amp Volume). 

• Add a bit of animation to the sound by routing the LFO to control the 
filter. Set the Patchcord amount low for a subtle effect. 

The LFOs have five parameters: Shape, Sync, Rate, Delay and Variation. 



Shape 

LFO waveforms have different shapes. The shape of the waveform deter- 
mines the effect of the LFO. LFOs have traditionally been used to add 
vibrato or repeating movement to a sound. These new shapes offer a lot of 
new programming possibilities. 



LI 



LF01 



5HRPE 
sawtooth 



SYNC 
key sync 



If you modulate the pitch of an instrument, it's easy to visualize the shape 
of the waveform. For example, the sine wave has a smooth, rolling shape 
that changes the pitch smoothly. The square waveform changes between 
two pitches abruptly. A sawtooth waveform increases the pitch smoothly, 
then abruptly changes back down. The available waveforms are shown 
below. 



Proteus 2500 Operation Manual 201 



Preset Edit Menu 
Low Frequency Oscillators (LFOs) 



LFO Tricks & Tips: 

• The Random LFO wave is truly 
random and is different for 
each voice and layer. 

• The Pattern (Pat) waveforms 
will sound the same on 
different layers and voices. 

• Sine + Noise is very useful for 
simulating trumpet and flute 
vibrato. 

~k When routing Hemi-quaver 
to Pitch: 

+38 = major scale 
-38 = phrygian scale 
+76 = whole tone scale 
(+38) + (+76) = diminished 
(two cords) 

odd amount = S+H sound 



Note: References to musical 
intervals in the pattern LFO 
shapes are with the LFO 
routed to pitch and a 
Patchcord amount of +38. 



7^\ 7^ , 



LFO Synced to 1/4 Note Clock 



Random 



_n 



"-ai 



Ltmi 



Sine 




25% Pulse 



Pat: Octaves 

+ Octave 



- Octave 



Pat: Neener 



Sine + Noise 



Triangle 



Sawtooth 







Square 


33% Pulse 





















16% Pulse 



12% Pulse 



Pat: Fifth + Octave 

c, 



Pat: Sus4 trip 



J L 



f^t 



Sine 1,2 



Sine 1,3,5 





Hemi-quaver 



J X/\> ^pJ 



w 



Sync 

The Sync field specifies whether the LFO is synchronized to a key stroke or 
is Free Running. Key Sync starts the LFO wave at the beginning of its cycle 
each time you press a key on the controller. In Free Run mode, the LFO 
wave begins at a random point in its cycle each time you press a key on the 
controller. 



Rate 

The Rate field determines the LFO speed in absolute frequency rate values 
or tempo-based note values. All values equal to or greater than zero specify 
absolute frequency values from 0.08 Hz to 18.14 Hz. 



202 E-MU Systems 



Preset Edit Menu 
Low Frequency Oscillators (LFOs) 



Values less than zero specify tempo-based rates. If you modulate the rate of 
a tempo-based LFO, the rates will jump between the tempo-based note 
values with each Patchcord increment of "1". As an example: if the LFO 
rate was set to 8/1 and you patched the Mod Wheel to control rate with a 
Patchcord amount of +1, turning the Mod Wheel to maximum would 
change the LFO rate to 4/ld. Refer to the chart below. 



LI 



LF01 



RRTE 
0.08Hz 



DELRY 
60 



VRR 
020 





Tempo-based Rates 
(based on Master Tempo) 


Display 


octal whole note 


8/1 


dotted quad whole note 


4/ld 


octal whole note triplet 


8/lt 


quad whole note 


4/1 


dotted double whole note 


2/ld 


quad whole note triplet 


4/lt 


double whole note 


2/1 


dotted whole note 


1/ld 


double note triplet 


2/lt 


whole note 


1/1 


dotted half note 


l/2d 


whole note triplet 


1/lt 


half note 


1/2 


dotted quarter note 


l/4d 


half note triplet 


l/2t 


quarter note 


1/4 


dotted 8th note 


l/8d 


quarter note triplet 


l/4t 


8th note 


1/8 


dotted 16th note 


l/16d 


8th note triplet 


l/8t 


16th note 


1/16 


dotted 32nd note 


l/32d 


16th note triplet 


l/16t 


32nd Note 


1/32 





Proteus 2500 Operation Manual 203 



Preset Edit Menu 
Low Frequency Oscillators (LFOs) 



&6 



Variation is disabled 
when a Tempo-Based LFO is 
selected. 



Delay 

The Delay parameter defines the amount of time between hitting a key on 
the controller and the onset of the LFO modulation. Delay can be used to 
simulate an effect often used by acoustic instrument players where the 
vibrato is brought in only after the initial note pitch is established. The 
following illustration demonstrates how delay works. 




All Delay values equal to or greater than zero specify absolute time rates 
from to 127. Values less than zero specify Tempo-based mode. Refer to the 
previous table for times and tempo-based rates. 



Variation 

LFO Variation sets the amount of random variation of the LFO each time 
you press a key on the controller. This creates a chorus or ensemble effect 
since each note played has a slightly different modulation rate. The higher 
the value entered, the greater the note to note variation in the LFO. 

The Variation value range is from through 100. 




LFO variation changes the rate of each note to create an "ensemble" effect. 



204 E-MU Systems 



Preset Edit Menu 
Patchcords 



Patchcords 



Patchcords tie everything together by connecting modulation sources to 
destinations. Each Patchcord has its own Amount control which can be 
positive or negative (negative amounts invert the signal). In addition, the 
Patchcord amounts themselves can be controlled by any modulation 
source. Proteus 2500 provides 24 patches for each layer. 

There are three permanently connected control routings: volume envelope 
to amplifier, pitch wheel to pitch and key to pitch. All other connections 
must be made using the Patchcords. 



Modulation 
Source 




Destination 



Amp 
Volume 



Modulation 
Source 



Destination 



LFO 1 

LF0 2 

Amp Env 

Filt Env 

Aux Env 

Wheel 

Pressure 

etc. 



Amp Vol 

Pitch 

Pan 

LFO Rate 

Aux Env 

Env Atk 

Glide 

etc. 



Each patch has an amount field which determines how much modulation 
is applied to the destination. The modulation amount can be positive or 
negative. Negative values invert the input. The amount value range is from 
-100 to +100. 



L1 PRTCHC0RD 

RlsVel -> RmpVol 



#01 
+100 



L1 PRTCHC0RD 

Key+ -> FiltRes 



#24 
-27 



Proteus 2500 Operation Manual 205 



Preset Edit Menu 
Patchcords 



Value 




Modulator Polarity 

You will notice that some of the modulation sources have symbols 
following their names. For example, there are three Velocity modulation 
sources, Vel +, Vel +, and Vel <. 



Control 



+ modulation ADDS to the 
initial value. (Normal) 

± centers around Zero. 
(Use for LFOs, Filt. Freq.) 



< modulation SUBTRACTS 
from the initial value 



"+" Modulation: Uses only the positive half of the range, adding to the 
current value. For example, if the filter frequency were set to 100 and you 
patched Vel+ to the filter, the filter frequency would increase from 100 as 
velocity was applied. 

"+" Modulation: Uses both sides (full) range and both adding and 
subtracting from the current value. For example, if the filter frequency 
were set to 100 and you patched Vel + to the filter, the filter frequency 
would decrease from 100 with key velocities of 63 or less and increase from 
100 with key velocities of 64 and above. Therefore with medium velocity, 
the Filter frequency is approximately where you set it at 100. 

An LFO + works the same way; on the positive half of the cycle it increases 
the initial amount and on the negative half of the cycle it decreases the 
initial amount. With a + modulation source, a value of 64 equals 0. 

"<" Modulation: Uses only the negative half of the range, subtracting 
from the current value. For example, if the Amplifier Volume were set to 
+3 dB and you patched Vel < to Amp Vol, the volume would be at +3 dB 
only when maximum key velocity were applied. Lower key velocities would 
scale back the volume. In general, < modulation is the proper choice when 
modulating Volume. 



206 E-MU Systems 



Preset Edit Menu 
Patchcords 



Note: Flip-Flop Footswitches 
1 & 2 remain in their last 
condition when a new preset 
is selected. 

Flip-Flop Footswitch 3 resets 
to the Off condition whenever 
a new preset is selected. 



Note: The Envelope Sustain 
parameter controls the Decay 2 
Level segment of the envelope 
generator. 



Here is a list of all layer modulation sources and destinations in P2500. 



Modulation Sources: 

Off 

Key (+, +) 

Velocity (+, +, <) 

RlsVel (Release Velocity) 

Gate 

Pressure (Aftertouch) 

PitchWhl (Pitch Wheel, TouchStrip) 

ModWhl (Modulation Wheel) 

Pedal 

MIDI Volume (Controller 7) 

MIDI Pan (Controller 10) 

MIDI Expression (Controller 11) 

MIDI A-P 

PLagOut (Preset Lag Out) 

PRampOut (Preset Ramp Out) 

FootSwl - 3 (Foot Switch 1-3) 

FootFF (Flip-Flop Foot Switch 1 -3) 

Key Glide 

VolEnv +, +, < (Volume Envelope) 

FilEnv +, +, < (Filter Envelope) 

AuxEnv +, +, < (Auxiliary Envelope) 

LFO 1 & 2 (+, +) 

White (White Noise) 

Pink (Pink Noise) 

XfdRand (Crossfade Random) 

KeyRand 1 & 2 (Key Random) 

Lag sum (summing amp out) 

Lag 1 sum (summing amp out) 

Lag & 1 (Lag Processor) 

Clk Divisors (Octal, Quad, Double 

Whole, Whole, Half, Qtr, 8th, 16th) 

DC (DC Offset) 

Summing Amp 

Switch 

Absolute Value 

Diode 

Flip-Flop 

Quantizer 

4x Gain 



Modulation Destinations 

Off 

KeySust (Key Sustain) 

FinePtch (Fine Pitch) 

Pitch 

Glide 

ChrsAmt (Chorus Amount) 

'SStart (Sample Start) -note-on) 

SLoop (Sample Loop) 

SRetrig (Sample Retrigger) 

FiltFreq (Filter Frequency) 

'FiltRes (Filter Resonance -note-on) 

Amp Vol (Amplifier Volume) 

AmpPan (Amplifier Pan) 

RTXfade (Real-time Crossfade) 

VEnvRts (Volume Envelope Rates -all) 

VEnvAtk (Volume Envelope Attack) 

VEnvDcy (Volume Envelope Decay) 

VEnvSus (Volume Envelope Sustain) 

VEnvRls (Volume Envelope Release) 

FEnvRts (Filter Envelope Rates -all) 

FEnvAtk (Filter Envelope Attack) 

FEnvDcy (Filter Envelope Decay) 

FEnvSus (Filter Envelope Sustain) 

FEnvRls (Filter Envelope Release) 

FEnvTrig (Filter Envelope Trigger) 

AEnvRts (Auxiliary Envelope Rates -all) 

AEnvAtk (Auxiliary Envelope Attack) 

AEnvDcy (Auxiliary Envelope Decay) 

AEnvSus (Auxiliary Envelope Sustain) 

AEnvRls (Auxiliary Envelope Release) 

AEnvTrig (Auxiliary Envelope Trigger) 

LFO 1 & 2 Rate 

LFO 1 & 2 Trigger 

Lag Processor In & 1 

Sum (Summing Amp) 

Switch 

Abs (Absolute Value) 

Diode 

Quantize 

Flip-Flop 

Gain 4x 

Cord 1-24 Amount 



Proteus 2500 Operation Manual 207 



Preset Edit Menu 
Pitch Bend Range 



Pitch Bend Range 



Mix Output 



Specifies the Pitch Wheel range in semitones for the current layer. Pitch 
Wheel is a standard synthesizer control which is transmitted as a MIDI 
continuous controller message used (normally) to bend the pitch up and 
down. 

The PitchBend range is from to +12 semitones or "Master." A setting of 
"0" turns the pitch wheel Off for the current layer. The Master setting uses 
the Pitch Bend range denned in the Global menu. 



L1 PITCHBEND RRNGE 
+/- 12 semitones 



This feature allows you to program the Effect Send as a part of the preset. 
Note that for this feature to work, the Mix Output setting in the Global 
menu MUST be set to "Preset" on the selected MIDI channel. If you want to 
define output routing by MIDI channel, set it up using the Mix Output page 
in the Global menu. See "Mix Output" on page 128 for more information. 



L1 MIX OUTPUT 
5end2->main 

A 



FX Send 
Routing 



Output 
Routing 



The Sends function as effect processor inputs (effect sends). The Output 
Routing field shows the true routing of the Sends to the Main output. 

► To Control the Mix Output from the Preset: 

1. Move the cursor until it is underneath the Layer field and change the 
Layer using the data entry control. 

Move the cursor until it is underneath the FX Send Routing field and 
change the Send (1-4) using the data entry control. 

Locate the MIX OUTPUT screen in the Global menu. 

Set the MIDI channel you are using to "use preset". 



2. 

3. 
4. 



208 E-MU Systems 



Preset Edit Menu 
Common Preset Parameters 



Common 

Preset 

Parameters 

Preset Effects 



This section of the Preset Edit menu chapter describes parameters that 
affect all layers in the preset. 



Proteus 2500 has two stereo effects processors. When playing presets one at 
a time, the two processors can be programmed as part of the preset. The 
diagram below shows how the effects are integrated into the signal path 
using a parallel effects send/return model, similar to a mixing console. 



FX Send Amount 



Reverb, Delay 




Main 
Outs 



Chorus, Flange 



FX Send Amount 



Refer to the Effects chapter for additional information and instructions for 
setting up both the Preset Effects and the Master Effects. 



Proteus 2500 Operation Manual 209 



Preset Edit Menu 
Preset Effects 



OUTPUT SECTION 
& EFFECTS PROCESSORS 



PRESET 
EDIT MENU 




GLOBAL MENU 



The Mix Output setting in the Global Menu determines if the Preset's Mix 
Output routing will be used. This allows the Sends to be programmed by 
either MIDI Channel or by Preset, whichever you prefer. 



210 E-MU Systems 



Preset Edit Menu 
FXA Algorithm 



FXA Algorithm 



This screen selects the effect type for Effect Processor A. The "A" effects 
consist of different reverb types and digital delays. Move the cursor to the 
lower line of the display and select the effect you want. 



FXR RLGORITHM 
Lg Concert Pan 



A Effect Types 

1. Room 1 

2. Room 2 

3. Room 3 

4. Hall 1 

5. Hall 2 

6. Plate 

7. Delay 

8. Panning Delay 

9. Multitap 1 

10. Multitap Pan 

11. 3 Tap 

12. 3 Tap Pan 

13. Soft Room 

14. Warm Room 

15. Perfect Room 

16. Tiled Room 

17. Hard Plate 

18. Warm Hall 

19. Spacious Hall 

20. Bright Hall 

21. Bright Hall Pan 

22. Bright Plate 



23. BBall Court 

24. Gymnasium 

25. Cavern 

26. Concert 9 

27. Concert 10 Pan 

28. Reverse Gate 

29. Gate 2 

30. Gate Pan 

31. Concert 11 

32. Medium Concert 

33. Large Concert 

34. Large Concert Pan 

35. Canyon 

36. Delay Verb 1 

37. Delay Verb 2 

38. Delay Verb 3 

39. Delay Verb 4 Pan 

40. Delay Verb 5 Pan 

41. Delay Verb 6 

42. Delay Verb 7 

43. Delay Verb 8 

44. Delay Verb 9 



Proteus 2500 Operation Manual 21 1 



Preset Edit Menu 
FXA Parameters 



FXA Parameters 



FXA Send Amounts 



FXB Algorithm 



The FXA parameters are Decay, High Frequency Damping, and the FxB to 
FxA send. Decay sets the length of time it takes an effect to fade out. HF 
Damping causes the high frequency energy to fade away more quickly 
during the reverb decay. FxB to FxA controls the amount of the "B" effect 
sent through effect "A". This allows you to place the two effects in series 
and create setups such as "distortion through reverb" among others. Please 
refer to the Effects chapter for more information about the effects. 



FXR DECRY HFDRMP FxB>FxR 
048 064 000 



These parameters set the effects amounts for each of the four stereo effects 
busses. 



FXR SEND RMOUNTS 1:100% 

2: 50% 3: 10% M: 0% 



This screen selects the effect type for Effect Processor A. Move the cursor to 
the lower line of the display and select the effect you want. 



FXB RLGORITHM 
Panning Delay 



B Effect Types 

1. Chorus 1 

2. Chorus 2 

3. Chorus 3 

4. Chorus 4 

5. Chorus 5 

6. Doubling 

7. Slapback 

8. Flange 1 

9. Flange 2 

10. Flange 3 

1 1 . Flange 4 



12. Flange 5 

13. Flange 6 

14. Flange 7 

15. Big Chorus 

16. Symphonic 

17. Ensemble 

18. Delay 

19. Delay Stereo 

20. Delay Stereo 2 

21. Panning Delay 

22. Delay Chorus 



23. PanDelay Chorus 1 

24. PanDelay Chorus 2 

25. Dual Tap 1/3 

26. Dual Tap 1/4 

27. Vibrato 

28. Distortion 1 

29. Distortion 2 

30. Distorted Flange 

31. Distorted Chorus 

32. Distorted Double 



212 E-MU Systems 



Preset Edit Menu 
FXB Parameters 



FXB Parameters 



FXB Send Amounts 



Preset Patchcords 



effects. 



To crossfade between 



1 ) Set FXA Send 1 to 100%. 

2) Set FXB Send 1 to 0%. 

3) Set FX Cord # 1 to FXA Send 1 
at -WO. 

4) Set FX Cord #2 to FXB Send 1 
at +100. 

Increasing the controller amount 
will crossfade from FXA to FXB. 



The FXB parameters are Feedback, LFO Rate and Delay. Feedback sends the 
output of the effect back into the input. This creates multiple echoes on a 
delay effect and intensifies a chorus or flange effect. LFO Rate allows you to 
change the speed of the modulation oscillator for flange and chorus effects. 
Delay sets the length of the delay line. This affects the time between 
echoes, or the tone of flange effects. 



FXB FEEDBK 
032 



LFORRTE DELRY 
003 200ms 



These parameters set the effects amounts for the four stereo effects busses. 



FXB SEND RM0UNT5 
2: 50% 3: 10% 



1:100% 
M: 0% 



Preset Patchcords give you real-time control of global parameters. The 
effect processors are a powerful synthesis tool and this feature lets you 
control and use them in exciting new ways. For example, you can dynami- 
cally adjust the effects mix during a sequence or live performance. 

There are many exciting performance possibilities using Preset Patchcords 
to control Arpeggiator parameters and Effects Sends. The front panel knobs 
15 & 16 are usually connected to Arp parameters in factory presets marked 
"arp:" Be sure to try out these controls 

There are 12 Preset Patchcords per preset with a source, a destination and 
an amount control. The amount can be set from -100 to +100. The Preset 
Patchcord controls are added to the FX Send Amounts set in the Global or 
Preset Edit menus. In other words, multiple sources connected to destina- 
tions are summed. 



PRESET CORDS 

Pedal -> FXBSend2 



#01 
+100 



Proteus 2500 Operation Manual 213 



Preset Edit Menu 
Preset Patchcords 



Modulation Sources: 

Off 

Pitch Whl (Pitch Wheel) 

ModWhl (Modulation Wheel) 

Pedal 

MIDI Volume (Controller 7) 

MIDI Pan (Controller 10) 

MIDI A-L 

Footswitch 1 

Flip-Flop Footswitch 1 

Footswitch 2 

Flip-Flop Footswitch 2 

Footswitch 3 

Flip-Flop Footswitch 3 

DC 



Modulation Destinations 

Off 

Effect A Send 1 

Effect A Send 2 

Effect A Send 3 

Effect A Send 4 

Effect B Send 1 

Effect B Send 2 

Effect B Send 3 

Effect B Send 4 

Preset Lag In 

Preset Lag Amount 

Preset Lag Rate 

Preset Ramp Rate 

Arp Resolution 

Arp Extension 

Arp Velocity 

Arp Gate 

Arp Interval 

Beats Velocity, Group 1-4 

Beats Transpose (Xps) Group 1-4 

Beats Busy 

Beats Variation 



214 E-MU Systems 



Preset Edit Menu 
Initial Controller Amount 



Initial Controller 
Amount 



This parameter sets the initial value of MIDI controllers A-P when the preset 
is first selected. The front panel Control Knobs can be thought of as front 
panel MIDI controllers because in the Proteus 2500, they are treated just as 
if they originated from an external MIDI device. Refer to the following 
diagram. There are 4 Initial Controller Amount screens (A-D, E-H, I-L, M-P). 



|~mipl> 



MIDI 
Menu 



MIDI 

^ 



64- Controller 

9 ; 5- A 



MIDI 



Controller 

9 : 5- B 



MIDI 



64- Controller 

A- c 







Preset Edit Patchcord Destinations 

Menu — 




A 61 





C 1/ 



Amount 



Key Sustain 

Fine Pitch 

Pitch 

Glide 

Chorus Amount 

Sample Start 

Sample Loop 

Sample Retrigger 

Filter Frequency 

Filter Q 

Amplifier Volume 

Amplifier Pan 

Amplifier Crossfade 

Volume Envelope Rates 

Volume Envelope Attack 

Volume Envelope Decay 

Volume Envelope Release 

Filter Envelope Rates 

Filter Envelope Attack 

Filter Envelope Decay 

Filter Envelope Release 

Aux. Envelope Rates 

Aux. Envelope Attack 

Aux. Envelope Decay 

Aux. Envelope Release 

LFO 1 & 2 Rates 

LFO 1 & 2 Trigger 

Lag Processor 

Summing Amp 

Switch 

Absolute Value 

Diode 

Quantizer 

4x Gain 

Cord 1-24 Amount 



FXASend 1-4 
FXBSend 1-4 
Preset Lag In 
Preset Lag Amount 
Preset RanipRate _ 



Preset 
Cords 



External MIDI controller numbers are assigned to the Letters A-P in the 
MIDI menu. The Initial Controller Amount value is sent to the Patchcord 
destination when the Preset is first selected. If you move the Control Knob ; 
then that value replaces the initial value. If MIDI controller data is received 
it will similarly replace the knob or initial setting. 



INITIRL CONTROLLER RMT 
R:017 B:112 C:127 



D: off 



The Initial controller amounts can be set from 000-127 or they can be 
turned Off. If set to Off, the current controller value is used when the preset 
is first selected. Setting the Initial Amount to "off" uses the values from the 
previously selected preset. 



Proteus 2500 Operation Manual 215 



Preset Edit Menu 
Keyboard Tuning 



Keyboard Tuning 



In addition to the standard equally divided octave tuning, Proteus 2500 
contains twelve factory programmed tunings and 12 user-definable 
tunings. The Keyboard Tuning parameter selects which tuning is used by 
the current preset. The User Tuning tables are defined in the Global menu. 

The factory Keyboard Tuning tables are described in the following table. 



Tuning Tables 

Equal Temperament 

JustC 
Vallotti 

19-Tone 
Gamelan 

Just C2 
Just C-minor 
Just C3 
Werkmeister III 

Kirnberger 

Scarlatti 
Repeating Octave 

User 1-12 



Description 

Standard Western tuning 

(12 equally spaced notes per octave) 

Just intonation. (Based on small interval ratios. Sweet 
and pure, non-beating intervals.) 

Valotti & Young non-equal temperament. (Similar to 12 
tone equal temperament. Each key has a different 
character for a given scale.) 

19 tone equal temperament. (19 notes per octave. 
Difficult to play, but works well with a sequencer.) 

5 tone Slendro and 7 tone Pelog. (Javanese. Pelog are 
white keys, Slendro are black keys. Exotic tunings of 
Gamelan flavor. 

Allows you to play the following chords in the key of C: 
C, E, F, G, A, B, C#m, D#m, Em, F#m, G#m, Am, Bm 

Allows you to play the following chords in the key of C: 
C, E, F, G, A, B, Em, Am, Bm, C#m, D#m, G#m 

Allows you to play the following chords in the key of C: 
C, D, F, Bb, C#m, Dm, Em, F#m, G#m, Am 

A "well" temperament developed in the 1 7th century. 
Although you can play in all keys, each key sounds 
slightly different. 

Another well temperament developed by Johann 
Philipp Kirnberger where no pitch is more than 12 
cents off from equal temperament. 

A variant of Meantone tuning which was used from the 
15th to 18th centuries. 

Middle C octave is repeated up and down the keyboard. 
Link with a preset in equal temperament to form 
unusual inversion up and down the keyboard. 

Define your own tuning tables (Global menu). 



Refer to "User Key Tuning" on page 134 in the Global Menu chapter for 
instructions on how to define your own Keyboard Tunings. 



216 E-MU Systems 



Preset Edit Menu 
Keyboard Tuning 



^ 



Proteus 2500 
implements the MIDI Tuning 
Dump protocol which allows you 
to create tuning tables on your 
personal computer and 
download them via MIDI. There 
are several computer applications 
available on the internet which 
let you create and download 
tuning tables via MIDI. 



The Just C Tuning Tables 

Well Tempered and Just were standard keyboard tunings up until the 20th- 
century when the current "equal tempered" scale became prevalent. In an 
equal tempered scale, the octave is equally divided into 12 parts. In Just or 
Well Tempered scales, the 12 notes are separately tuned to produce pure 
chords. However, in Just tunings you are limited to playing certain chords 
and if you play the wrong chord it may sound very BAD! 

Proteus 2500 allows you to modulate between keys by providing you 12 
user tuning tables. Tuning tables can be changed as you play using a 
program change (create several presets with the same sound and different 
tuning tables), by MIDI SysEx command (using a programmable MIDI 
footswitch or other device), or using a continuous controller (link 2 presets 
and crossfade between them using a controller). 

The Just C2, Just C min, Just C3 Tuning Tables 

These new tuning tables take the concept of just intonation a step beyond 
previous E-MU products. Fully explaining the mysteries of just intonation is 
beyond the scope of this manual, but the subject is covered exhaustively in 
Hermann Helmholtz's On the Sensations of Tone, available at most libraries 
and bookstores. 

The new tables are called Just C2, Just C3, and Just C Minor. Try playing in 
the key of C/Cm using each table. You'll quickly discover both the wonders 
and the frustrations of just intonation! In Just C, for example, you'll find 
that the chords C, Em, F, G, and Am sound beautiful. If you hold one of 
these chords, you'll hear no "beating". After playing for a few minutes, 
switch back to Equal Temperament for a rude awakening! 

At this point you might wonder why anyone would use Equal Temper- 
ament to begin with. For the answer to that question, play a D, Dmi, or Bb 
chordLThe intervallic ratios that make the C & G chords sound so pure 
make the D chord sound horribly out of tune. That's why we had to include 
Just C3. In this tuning, D, Dmi and Bb sound in tune, but the G chord will 
sound wrong. 

Each of the 4 tables allows you to play a different group of common chords 
in just intonation. Sadly, there is no single 12 note tuning that will allow all 
of the common chords to be in tune, and of course that's why they 
invented the equal temperament tuning system that we use today. 

JustC 

Play these chords: C, E, F, G, A, Cm, C#m, Em, F#m, Gm, Am 

Just C2 

Play these chords: C, E, F, G, A, B, C#m, D#m, Em, G#m, Am, Bm 

Just C2 minor 

Play these chords: C, D b , D, E b , G, A b , Cm, Em, Fm, Gm 

Just C3 

Play these chords: C, D, F, B b , C#m, Dm, Em, F#m, G#m, Am 



Proteus 2500 Operation Manual 21 7 



Preset Edit Menu 
Preset Links 



Preset Links 



You can link presets to other presets to create layering or keyboard splits. 
The current preset can be linked with up to two other presets (Links 1 & 2). 
Each linked preset can be assigned to a specific range in order to create 
keyboard splits or can be assigned a velocity range to switch links according 
to key velocity In addition, you can specify Volume, Pan, Transpose and 
Delay settings for each Link. The modulation parameters specified in each 
preset remain in effect for each preset in the link. 







LINK 1 Preset 
000 2 Preset Name 


2500 
















LINK 1 
RRNGE C-2 


KEY VEL 
G8 000-127 






























LINK 1 


VOLUME PRN 
+0dB 00 














LINK 1 


TRRN5P05E DELRY 
+00 







Links provide an easy way to create new sounds by combining the existing 
presets. Or, you can create your own custom stacked presets with up to 12 
layers! We're talking LARGE sounds here. Of course Links can also be used 
when you just want to stack up two sounds. 

As an example, let's stack two presets to create a big sound. Start with a 
preset you like, then go into the Links screen and start scrolling through 
the preset list while you play to hear both presets together. When you find 
a winner, simply Save the preset and you're finished! 

• You can "Split" the keyboard up to 12 ways by using combinations of the 
Layers and Links. 

• By adjusting the Velocity for the link, you can bring in the link by 
playing hard. 

• Transposing the Link can radically change the sound. 

• The delay parameter lets you create surprise effects, echoes or cascades of 
sound as you continue to hold the keys. 



218 E-MU Systems 



Preset Edit Menu 
Preset Tempo Offset 



Preset Tempo Offset 



Audition Riff 
Selection 



\ 



Listening to the Riffs is a 
quick way to learn the sounds in 
Proteus 2500. If a preset has 
hidden tricks or controllers, these 
will be shown off in the Riff. 



Play Solo Layers 



This function allows you to double or halve the Master Tempo as it applies 
to this preset. When playing or sequencing several presets in Multimode, 
the Master Tempo may be too fast or slow for one preset. Using this feature, 
you can adjust the tempo for the misbehaving preset. The Tempo Offset can 
use the current tempo or be set to half or twice the current tempo. 



TEMPO OFFSET 

use current tempo x 2 



A Riff is a short pre-recorded musical phrase which can be anything from a 
single note to a full 16-track sequence. This function allows you to assign a 
Riff to a Preset. The Preset Riff will be used when the front panel Audition 
button is pressed. 

The Riffs themselves cannot be modified. 



RUDITION SELECTION 
Plays:KEY-MiddleC 



When constructing multilayer sounds it is often useful to turn off one or 
more of the layers so you can hear what you're doing! This feature allows 
you to temporarily solo individual layers or listen to them in any combi- 
nation. This screen differs from the other Preset Edit screens in that it is 
NOT saved with the preset. The values reset each time you exit the Preset 
Edit menu. 

Solo is activated by setting any layer to On (On = the layer is being Soloed). 
Any layers set to On will play and any layers set to Off will be muted. If all 
layers are set to Off, then Solo mode ends and all layers play normally. 
When you exit the Preset Edit menu, all layers play normally. 



PLRY SOLO LRYERS 
1: off 2: off 3: off 



M: off 



Proteus 2500 Operation Manual 219 



Preset Edit Menu 



220 E-MU Systems 



Arpeggiator/Beats Menu 



^ 



Arp parameters are 
automatically saved to the 
current multisetup when you exit 
the menu, but you may wish to 
save to another location. 

If another Multisetup is 
"Restored" any unsaved 
changes will be lost if you 
haven't saved the Multisetup. 



Arpeggiator/Beats Menu 



Proteus 2500 can run up to 32 simultaneously synced arpeggiators, each 
with a different preset sound. The arpeggiators can either play one of 7 
chord arpeggios or can be set to play a pattern, which is a stored sequence 
of notes. Combined with sequencer, the number of musical permutations is 
staggering! 

Beats mode allows you to trigger, latch and unlatch synced loops and 
grooves from separate keys on your keyboard. Simply select a bts: preset 
and play the 16 trigger keys to bring specific Parts in and out. This is Macro- 
Music! 

► To enable the Arpeggiator/Beats menu 

Press the Arp button, lighting the LED. The Arp screen displays the menu 
page most recently selected since powering up Proteus 2500. The cursor 
appears below the first character of the screen heading on line one. 

► To select a new screen 

Press the Home/Enter button or press the Cursor button repeatedly until 
the cursor is below the screen title heading on the top line of the display. 
Rotate the data entry control to select another screen. 

► To modify a parameter 

Press either Cursor button repeatedly (or hold down the right cursor button 
while turning the data entry control) until the cursor is below the desired 
parameter value. Rotate the data entry control to change the value. 

► To access a submenu 

The Master Arpeggiator screens have submenus which are accessed by 
pressing the cursor buttons to move the cursor to the lower left corner of 
the display. Select the submenu function using the data entry control. 

► To save Arpeggiator parameters 

Press the Save/Copy button and scroll to "Save Setup To". Select a Setup 
number and press Enter. See "Saving Multisetups" on page 125. 

► To return to the previously selected Mode/View screen 

Press the Arp button, turning off the LED. 



Proteus 2500 Operation Manual 221 



Arpeggiator/Beats Menu 
Arpeggiators 



Arpeggiators 



&6 

SAVE your Arp setups 

and name them using the "Save 
Setup To" function located in the 
Global menu. See"Saving 
Multisetups" on page 1 25. 



An arpeggiator moves a pattern of notes sequentially over a range of the 
keyboard. Proteus 2500 has the unique ability to play a different arpeg- 
giator on each MIDI channel! 

Arpeggiator settings can be denned as part of the preset (using the Arp 
parameters in the Preset Edit menu), or globally in the Arpeggiator menu. 
The preset and master arpeggiators have the same parameters which we 
define in this chapter. 

The Arp field in the main screen defines which arpeggiator settings will be 
used. "M" uses the master Arpeggiator settings and on/off status (as defined 
in the Arpeggiator menu). "P" uses the preset's arpeggiator settings and on/ 
off status (as denned in the Edit menu). Choosing "On" uses the preset's 
arpeggiator settings regardless of whether or not it is turned on in the Edit 
menu and Off turns off the arpeggiator regardless of the settings and status 
specified in either menu. 



Arp Settinqs in the 
Preset are Used 


\ 






w 


COIR V127 POO 
Um 3 arp: Sine Drum 


R:P 


USER 





All arpeggiators share Proteus 2500's master clock and its current setting. 
The master clock can be Proteus 2500's internal clock or an external MIDI 
clock (page 138). Although the arpeggiators use the master clock setting, 
the tempo divisor can be unique for each arpeggiator setup. 

Arpeggiator modes include up, up/down, forward assign, backward assign, 
forward/backward assign and random as well as play Patterns. Patterns are 
pre-recorded sequences of notes and rests. All key-on notes play the 
pattern. For example, if you play a chord, all the notes in the chord play the 
pattern in harmony. Proteus 2500 contains 200 factory patterns and 100 
user definable patterns. 



222 E-MU Systems 



Arpeggiator/Beats Menu 
Arp Controllers 



Arp Controllers 



Master 

Arpeggiator 

Parameters 



The Arpeggiators can be controlled using the front panel real-time 
controllers or external MIDI continuous controllers. Controllers are 
patched to Arps via the Preset Patchcords located in the Preset Edit menu. 
See "Preset Patchcords" on page 213. The following Preset Patchcord destina- 
tions control the Arpeggiators. 

Arpeggiator Resolution (ArpRes) 

This control changes the Arpeggiator Note Value, which defines the length 
of the notes when playing arpeggiated chords. It adds to the note value set 
in the Arpeggiator Note Value screen. See "Note Value" on page 225. 

Arpeggiator Extension (ArpExt) 

This control changes the Arpeggiator Extension Count. It adds to the 
extension count programmed in the Arpeggiator Note Value screen. See 
"Extension Count" on page 227. 

Arpeggiator Velocity (ArpVel) 

This control changes the Arpeggiator Velocity Value. It scales the velocity 
value set in the Arpeggiator Note Value screen. See "Velocity" on page 226. 

Arpeggiator Gate (ArpGate) 

This control changes the Arpeggiator Gate Time. It adds to the gate time set 
in the Arpeggiator Gate Time screen. See "Gate Time" on page 226. 

Arpeggiator Interval (Arplntvl) 

This control modulates the Arpeggiator Extension Interval. It adds to the 
extension programmed in the Arpeggiator Extension Interval screen. See 
"Extension Interval" on page 227. 



The Master Arpeggiator is denned in the Arp menu. The Arpeggiator mode 
selected on the Main Screen determines whether the Master arpeggiator or 
the Preset menu arpeggiator settings are used. 

► To Access the Master Arpeggiator Parameters 

1. Press the Arp menu button lighting the LED. The Arpeggiator menu 
screen displays the menu page most recently selected since powering up 
Proteus 2500. The cursor appears below the first character of the screen 
heading on line one. 

2. Use the right cursor button to advance the cursor to the first field in the 
bottom line of the screen. 

3. Now, use the data entry control to access the various Master 
Arpeggiator parameters. 

4. Save your Arpeggiator settings using the "Save Setup" function on the 
Save/Copy menu. 



Proteus 2500 Operation Manual 223 



Arpeggiator/Beats Menu 
Status 



Status 



Mode 



The Status parameter turns the Master Arpeggiator on and off. The Channel 
Arpeggiator setting in the main screen overrides this setting. For example, if 
you set the Arpeggiator in the main screen to "off," and turn it "on" here, it 
still will not play. 



MRSTER RRPEGGIRTOR 
Status 



off 



The Mode parameter determines the direction or pattern mode of the 
arpeggiated notes. 




The eight arpeggiator modes are: 
• Up 



Held notes arpeggiate continuously from lowest to 
highest pitch. 

Held notes arpeggiate continuously from highest to 
lowest pitch. 

Held notes arpeggiate continuously from lowest to 
highest pitch, then from highest to lowest, then repeat 
this cycle. 

Held notes arpeggiate continuously in the order in 
which the keys were pressed. 

Bkwd Assign Held notes arpeggiate continuously in the reverse order 
in which the keys were pressed. 



• Down 



Up/Down 



Fwd Assign 



Fwd/Bkwd 



Random 



• Pattern 



Held notes arpeggiate continuously in the order in 
which the keys were pressed, then arpeggiate in the 
reverse order that they were pressed. The cycle is then 
repeated. 

Held notes arpeggiate continuously in a random 
fashion. 

Held notes play the selected pattern (see "Pattern" on 
page 225 for details). 



224 E-MU Systems 



Arpeggiator/Beats Menu 
Note Value 



Note Value 



>0 Note value has no effect 
when the mode is set to 
"pattern. " 



Arpeggiator Pattern 
Speed 

Pattern 



The Note Value determines the duration of each note played. This 
parameter is used in non-pattern mode only. 



MR5TER RRPEGGIRTOR 
Note Value 



1/8 dot 



Following is a list of possible Note Values and the relative number of clocks 
used for each. 

Note Value MIDI Clock 

Double Whole Note 192 

Dotted Whole Note 144 

Double Note Triplet 128 

Whole Note 96 

Dotted Half Note 72 

Whole Note Triplet 64 

Half Note 48 

Dotted Quarter Note 36 

Half Note Triplet 32 

Quarter Note 24 

Dotted Eighth Note 18 

Quarter Note Triplet 16 

8th Note 12 

Dotted 16th Note 9 

8th Note Triplet 8 

16th Note 6 

Dotted 32nd Note 4.5 

16th Note Triplet 4 

32nd Note 3 



The Arpeggiator Pattern Speed parameter lets you change the playback rate 
of Patterns by l/4x, l/2x, lx (normal), 2x or 4x normal speed. 



This field lets you choose the pattern used when the arpeggiator Mode is set 
to "Pattern." There are 200 factory programmed patterns and you can 
create an additional 100 user definable patterns (see "Editing a User Arpeg- 
giator Pattern" on page 232). 



MRSTER RRPEGGIRTOR 
Pattern 99 1 Pattern Name 



Proteus 2500 Operation Manual 225 



Arpeggiator/Beats Menu 
Velocity 



Velocity 



Gate Time 



% 



The note-on time is used 
for the start-of-time when 
calculating note durations. See 
"Duration" on page 229. 



The Velocity parameter determines the velocity at which each note arpeg- 
giates. Velocity can be defined by the velocity value specified (from 1 
through 127), or by the actual velocity of the played note (played). Bear in 
mind that velocity values do not have an effect on the sound unless the 
preset is programmed to respond to velocity 



MR5TER RRPEGGIRTOR 
Velocity 



played 



The Gate Time parameter works together with the Note Value parameter. 
Just as Note Value defines the length of a note, the Gate Time sets the 
percentage of the Note Value time played. This can have a dramatic effect 
on the sound depending on how the envelope generators are programmed. 



MR5TER RRPEGGIRTOR 
Gate 



100% 



With a Gate Time setting of 100% the note is held on until the next note 
starts. The envelope generators never advance to the Release stages. With a 
Gate Time setting of 50%, the note is released halfway through the note 
cycle and the envelope generators proceed to their release stages until the 
next note occurs. Refer to the following illustration. 



Selected Note Value (8th notes, 1 6th notes, etc.) 



Gate 
Time 

100% 
75% 



50% 



25% 















key-on 
time 










key-on 
time 










key-on 
time 





















226 E-MU Systems 



Arpeggiator/Beats Menu 
Extension Count 



Extension Count 



Extension Interval 



The Extension Count parameter specifies how many times the Extension 
Interval is carried out. With an Extension Count of 0, the arpeggio plays 
only the notes pressed. With an Extension Count of 1, the arpeggio plays 
the notes pressed, then plays the same notes (in the same order), trans- 
posed by the Extension Interval amount. The cycle is then repeated. 



MR5TER RRPEGGIRTOR 
Extension Count 



For example, with the Extension Interval set to 12 (an octave) and an 
Extension Count of 2, and with the Arpeggiator Mode set to Fwd Assign, if 
you played E2, then C2, then G2, the arpeggiated sequence would consist 
of: E2, C2, G2, then E3, C3, G3, and then E4, C4, G4. The Extension Count 
values range from through 15. Refer to the following illustration. 









2TT1 


Ml 


5 i i 4 


MI 


8 i I 7 


Ml 










Extend 1 



Extend 2 



The Extension Interval specifies the additional intervals played when you 
press a key. For example, suppose you played C2 with an Interval of 7 (a 
Major 5th), Up mode, and an Extension Count of 2. The arpeggio alternates 
between C2 and G2. 

The Extension Interval values range from 1 through 16. 



MR5TER RRPEGGIRTOR 
Extension Interval 



Proteus 2500 Operation Manual 227 



Arpeggiator/Beats Menu 
Sync 



Sync 



Pre-Delay 



The Sync parameter defines when a note is played in relation to when the 
key is pressed. When set to "Key Sync", the note sounds the instant a key is 
pressed. When set to "Quantized", the note does not sound until the next 
occurrence of the selected note value. 



MR5TER RRPEGGIRTOR 

Sync key sync 



The following diagram illustrates how Key Sync and Quantize work. 



Key 
Pressed 



Note Sounds 
Immediately 



Key Sync 



Quantize 



Quarter Notes 

Note Doesn't Sound until 
the Next Quarter Note 



Quarter Notes 



The Pre-Delay value determines how long the arpeggiator is delayed before 
becoming active after the first "note-on." During the pre-delay period, 
notes are played normally (as if the arpeggiator was off). After the pre-delay 
period has elapsed, the arpeggiator kicks in. Once you release all the keys 
on the controller, the pre-delay starts over with the next note-on. In combi- 
nation with the Duration parameter, Pre-Delay lets you create many more 
variations in the arpeggio patterns. Please refer to the diagram on page 230. 

You can play the preset normally as long as you don't hold the notes longer 
than the Pre-Delay. If you do, the arpeggiator starts in. When used in 
conjunction with multiple arpeggiators, Pre-Delay allows you to offset the 
time between the different patterns. 



MR5TER RRPEGGIRTOR 
Pre-Delay 



off 



228 E-MU Systems 



Arpeggiator/Beats Menu 
Duration 



Duration 



This parameter defines how long the arpeggiator plays before stopping. The 
Duration is specified in note values. Therefore if an arpeggio were running 
at a 16th Note Value and the Duration were set to a whole note, the arpeg- 
giator would play 16 steps before stopping. After the duration has elapsed, 
the arpeggiator remains inactive until the key is released. If Duration is set 
to Off, the arpeggio repeats as long as the notes are held (Infinite Duration). 



MR5TER RRPEGGIRTOR 
Duration 



1/ld 



Duration can be used to modify the patterns and increase the possible 
pattern combinations and variations. Because this parameter limits the 
length of arpeggiator play time, it can change the arpeggio pattern when 
the Duration is less than the length of the arpeggio. You can set the 
arpeggio to repeat continuously using the Recycle function described below. 



Post-Delay 



This parameter is only relevant when both the "Duration" and "Recycle" 
parameters are not in the "Off" state. The Post-Delay value determines how 
long the arpeggiator is delayed after the Duration period. Please refer to the 
diagram on page 230. During the post-delay period, notes are played 
normally (as if the arpeggiator was off). After the post-delay period has 
elapsed, the arpeggiator either jumps to the beginning of the Pre-Delay 
period or to the beginning of the Duration period depending on the 
Recycle setting. 

If the arpeggiator is playing an extension when the Duration expires, the 
notes in the extension will continue to sound during the Post-Delay (and 
Pre-Delay if on). On the next pass through the Duration period, the 
extension continues where it left off. 

Post-Delay increases the number of possible variations in the beat and 
allows the recycle loop to be set to an exact measure of time. 



MR5TER RRPEGGIRTOR 
Post-Delay 



off 



Proteus 2500 Operation Manual 229 



Arpeggiator/Beats Menu 
Recycle 



Recycle 



Keyboard Thru 



Latch 



Keys 
Pressed 



I 



Notes Sound 
I h 



Arp Plays 



Notes Sound 

H 1 



Pre-Delay i Duration Post-Delay i 




Recycle enables the pattern or arpeggio to repeat. This parameter works 
together with the Duration and Pre/Post Delay parameters to allow the loop 
to be set to an exact measure of time. The "on/No-PreDelay" option 
bypasses the predelay period. With Recycle turned Off, the pattern or 
arpeggio stops at the end of the Post-Delay period. 



MR5TER RRPEGGIRTOR 

Recycle on/No-PreDly 



When enabled, Keyboard Thru merges the notes not arpeggiated with the 
notes being produced by the arpeggiator. This gives the effect of two parts 
playing at once. 



MR5TER RRPEGGIRTOR 
Keyboard Thru 



off 



With Latch mode On, any notes you play remain on until you press them 
again. Latched notes can also be halted by turning Latch off in this screen, 
or by turning off the Arpeggiator for the channel in the main screen. 




230 E-MU Systems 



Arpeggiator/Beats Menu 
Send MIDI System Exclusive Data 



Send MIDI 
System 
Exclusive Data 



s*> 



Send data as you would 
a regular sequence. Sending 
data in one huge chunk may 
clog the MIDI input buffer on 
Proteus 2500. 



Use the Key Range parameter to set the keyboard range for the arpeggiator. 
Notes inside the range will arpeggiate while notes outside the specified 
range will not arpeggiate. Use the Extensions parameters to exceed the 
upper boundary of the Key Range (see the information about Extensions 
beginning on page 227). 



MRSTER RRPEGGIRTOR 
Key Range 



C-2->G8 



Move the cursor under the first key and use the data entry control to define 
the lowest key to be arpeggiated. Move the cursor under the second key 
value and use the data entry control to define the highest key to be arpeg- 
giated. 



Transmits the Arpeggiator Patterns via the MIDI out port as MIDI System 
Exclusive data to another Proteus 2500 or to a computer/sequencer for 
backup. Using the cursor key and the data entry control, select the MIDI 
data you want to transmit. See Send MIDI System Exclusive Data in the 
Master chapter for additional details about recording SysEx. 

User Patterns 

Transmits all the User patterns. 

00° to 99° 

Transmits only the individual pattern you have selected. 



SEND MIDI SYSEX DRTR 
Rll User Rrp Patterns 



Proteus 2500 Operation Manual 231 



Arpeggiator/Beats Menu 

Editing a User Arpeggiator Pattern 



Editing a User 
Arpeggiator Pattern 



Bank = User Patterns 
Bank 1 = Factory Patterns 
Bank 2 = Factory Patterns 



X 



Before editing a Pattern, 
select Master Arpeggiator (M) in 
the main screen and set the 
Arpeggiator to the Pattern you 
are editing. This lets you hear 
the Pattern as you edit it. 



Pattern Step Number 



Key 



Proteus 2500 lets you create and edit your own arpeggiator patterns. Using 
the Edit User Pattern menu, you can create up to 100 user patterns and each 
pattern can be up to 32 steps in length. 

When you edit a pattern, you are writing directly into memory — no Save 
command is required (however you must exit the Arp module). This is 
different from the Edit menu where you must Save a preset before it will be 
overwritten. If you want to modify an existing pattern and keep the 
original, you must first COPY the pattern you want to edit to another 
location using the function in the Save/Copy menu (See page 268). Refer to 
the instructions below and the following parameter descriptions to create 
your own patterns. 



EDIT USER PRTTERN 
01 1 DRUMnBRSS 1 



► To Select the Pattern to Edit 

1. From the Edit User Pattern screen shown above, move the cursor to the 
bottom line and select the pattern you want to edit. The Enter LED 
begins flashing. Press Enter to move back to the Home position. 

2. Select the next screen in the list, "User Pattern Edit". This is where you 
edit the currently selected pattern. 





PTRN 
501 


KEY 
+0 


VEL 

ply 

* 


DUR 
1/8 


RPT 

2 


i 


i 


i 


i 


i 



Pattern Step 
number 



Key offset Velocity Duration 



Repeat 



Move the cursor to the lower line of the display. For each step, you can 
select: key, velocity, duration, and number of repeats. 



You can set up to 32 steps for each arpeggiator pattern. This field selects 
which step you will be editing from 1 to 32. 



This parameter defines what happens during the current step. The Key 
parameter can do one of five different operations. Following is a description 
of each of the key functions and how to use them. 



232 E-MU Systems 



Arpeggiator/Beats Menu 
Key 



<5>& 

^^ IMPORTANT: The Gate 
function in the arpeggiator 
MUST be set to 1 00% when 
using the tie function, otherwise 
the tied note is retriggered 
instead of extended. 



Key Offset 

This parameter defines not the actual note of the arpeggiator playback, but 
instead specifies the amount of offset, in semitones, from the original note 
played. You can set a Key Offset from -48 to +48 for each step. For example, 
if you play a "C" on the keyboard with the Key Offset amount for the first 
step set to "+1," the first step in the pattern will be "C#." 



-48 



-36 



-24 



- Offset 



-12 



+12 



t 

Played 
Note 



+24 



+ Offset 



+36 



+48 



Tie 

This function extends the duration of notes beyond the values given in the 
duration field by "tying" notes together. You can tie together any number 
of consecutive steps. 



J^J J 



+2 




tie 




-5 



Step 1 Step 2 Step 3 



Rest 

Instead of playing a note, you can define the step as a Rest. The Duration 
parameter specifies the length of the rest. Rests can be tied together to form 
longer rests. 

Skip 

This command simply removes the step from the pattern. The Skip feature 
makes it easy to remove an unwanted step without rearranging the entire 
pattern. You'll be happy to know that the velocity, duration and repeat 
parameters are remembered if you decide to put the step back later. 

End 

This command signals the end of the pattern. Any steps programmed after 
the step containing the End command are ignored. 



Proteus 2500 Operation Manual 233 



Arpeggiator/Beats Menu 
Velocity 



Velocity 



Duration 



Repeat 



Each note in the pattern plays using either a preset velocity value (from 
1 through 127), or using the actual velocity of the played note (ply). 

Note: Velocity values will not have an effect on the sound unless velocity is 
programmed to do something in the preset. 



This parameter sets the length of time for the current step, defined as a note 
value, based on the Master Tempo. The selectable note durations are 
described below. 



1/32 


32nd Note 


l/2t 


Half Note Triplet 


l/16t 


16th Note Triplet 


l/4d 


Dotted Quarter Note 


l/32d 


Dotted 32nd Note 


1/2 


Half Note 


1/16 


16th Note 


1/ld 


Dotted Whole Note 


l/8t 


8th Note Triplet 


1/lt 


Whole Note Triplet 


l/16d 


Dotted 16th Note 


l/2d 


Dotted Half Note 


1/8 


8th Note 


1/1 


Whole Note 


l/4t 


Quarter Note Triplet 


2/lt 


Double Whole Note 


l/8d 


Dotted Eighth Note 




Triplet 


1/4 


Quarter Note 


2/1 


Double Whole Note 



Each step can be played from 1 to 32 times. A repeat setting of "1" indicates 
the step will be played one time (not repeated one time or played twice). 

► To Edit a User Pattern 

1. The first field in the Edit User Pattern field defines the pattern's step 
number. Start with the pattern Step 01. 

2. Define the Key Offset, Velocity, Duration and Repeat values. 

3. Repeat steps 1 and 2 until you have setup the desired number of steps 
in the pattern. 

4. Set the Key Offset to "End" on the last step in the pattern. 



234 E-MU Systems 



Arpeggiator/Beats Menu 
User Pattern Name 



User Pattern Name 



Multichannel 
Arpeggiating 



The User Pattern Name page lets you enter a name for any User Arpeggiator 
Pattern. 



PTRN 
501 



KEY 
+0 



VEL 
ply 



DUR 
1/8 



RPT 

2 



► To Name a User Pattern 

1. From the Pattern Edit screen shown above, position the cursor under 
the PTRN field. 

2. Turn the data entry control clockwise. The following screen appears. 



USER PRTTERN NRME 
00° Mod Sycle 



3. Move the cursor to the bottom line and edit the Pattern name using 
the data entry control and Cursor keys. 

4. Move the cursor to the "Home" position (shown above) by pressing the 
Home/Enter button. 

5. Turn the data entry control counter-clockwise one click to return to 
the Pattern Edit screen. 

6. Turn the data entry control counterclockwise multiple clicks to jump 
back to the main Arpeggiator menu screen. 



Presets with the arpeggiator assigned will play when they receive MIDI 
note-on data from the keypad, internal sequencer or external MIDI source. 

Please refer to the instructions on page 28 to learn one way to perform 
using multiple arpeggiators. 



Proteus 2500 Operation Manual 235 



Arpeggiator/Beats Menu 
Multichannel Arpeggiating 



Beats 



x 



Remember to SAVE your 
preset once you assign a BTS or 
KIT riff. 



&6 

Beats (bts:) Riffs are 
special 1 6-part riffs made 
especially for use with Beats 
mode. KIT riffs may have four or 
five parts. 

Other riffs usually have only one 
part recorded. 



\ 



By assigning Trigger 
Buttons to the keyboard Beats 
Layout Keys, you can trigger 
Beats and MIDI notes using the 
Trigger buttons. 



Beats mode is a 16-track play-only sequencer optimized for live perfor- 
mance and groove creation. BTS riffs, which are permanently stored in 
sound ROM, are special multi-part Audition Riffs. By playing keyboard or 
trigger keys you trigger, latch and unlatch different parts of these synced 
loops and grooves. Any preset can be selected and used by assigning a BTS 
riff (or KIT riff) in the Preset Edit menu. 

► Here's how it works: 

1. Select a bts: preset, ...or assign a BTS riff to one of the percussion 
presets in the Preset Edit Menu. KIT riffs also have several tracks. 

2. Set the "Trigger Buttons Function" in the Controllers menu to Play 
Beats Parts. 

3. Select Triggers in the Command Functions section. 

4. Each of the Beats Parts is assigned to a trigger key. Bring each part in or 
out by pressing that key. Keys can also be Latched (press the key once to 
turn the part on, press it again to turn the part off). Other control keys 
allow you to Mute All Parts, Clear All Parts, and Start & Stop the beat. 
For BTS Riffs the 16 parts are arranged in the following manner: 



Main Groove 


Alt. Groove 


Perc / Fills 


Instr/Wild 


1. Kickl 


5. Kick2 


9. Perc3/Fill1 


13. Instl/Wildl 


2. Snarel 


6. Snare2 


10. Perc4/Fill2 


14. Inst2/Wild2 


3. Hihatl 


7. Hihat2 


11. Perc5/Fill3 


15. Inst3/Wild3 


4. Percl 


8. Perc2 


12. Perc6/Fill4 


16. Inst4/Wild4 



For each Beats Riff, you have 2 Grooves, 4 Fills which correspond to the 
four parts of the Main and Alternate groove, and 4 Instrument parts. By 
adding and removing parts, you control the complexity of the groove. 

Each part can also be scaled by Key Velocity, allowing you to fade parts in 
and out (if velocity is routed to volume) as you play, or can be Transposed 
over a six octave range. Each part can be assigned to any one of four Groups, 
which allow multiple parts to be triggered from a single key. You can only 
access Groups using the keyboard trigger keys. See the Factory Setup 
diagram on the next page. 

The factory BTS riffs range from 4-16 bars long, using 4 to 16 tracks each. 
Normally you'll use the Command Function buttons to bring parts in and 
out. Beat Parts can also be assigned to groups so that multiple parts can be 
triggered from a single key press. The Group Triggers, Clear Parts, Trigger 
Hold and Mute keys are only accessible via MIDI or the keypads. 

Trigger layouts are saved with the Multisetup. The Factory Multisetup (63) 
has all the Beats controls assigned to the keyboard as shown in the diagram 
on the following page. These MIDI note numbers have been placed below 
the lowest key on the keyboard so as not to interfere with normal playing. 
Setting the Beats Keys Offset function (page 244) to +48 will allow you to 
access these hidden control keys. 



236 E-MU Systems 



Arpeggiator/Beats Menu 
Multichannel Arpeggiating 



^ 



By assigning Trigger 
Buttons to the keyboard Beats 
layout keys shown at right, 
you can trigger Beats and 
MIDI notes at the same time 
using the Trigger buttons. 



X 



Starting Beats mode 
with the Start/Stop key allows 
you to start the sequencer rolling 
silently. Then you can bring Parts 
in and out using the "Busy" 
control. 



^ If Mute is set to 1 -bar, 
the Part mutes for 7 bar then 
un-mutes. 



Factory Setup 

Multisetup 63 



00 -~ 
re o 



re 



en 



cu .^ 
I I 



cu *" 

re y 

c cu 

OO Q_ 

I I 



*— m 



+j m uo 



re 



u u 



X c c 
• - cu cu 

X D_ D_ 
I I I 



11 

+-» +-> 

c c 

I I 



m 

Q. 

o 

1_ 

<J 
I 



1 ™™ 



C-2 



C-1 



CO 



Main 
Groove 



Alternate 
Groove 



I I 



O 

-M 

on 



re 

+-> 
00 



I I I I I I I I I I I I 

t— t— <N <N <N <N -^ <— Mr- <N T|- 

u re u 

•— t" •— re cu 

^±:^. c Q. 
X oo 



CU U = = -o -o Q.Q.Q. 

r^- ^ ^ ° ° ° 



u 



cu cu 

Q_ Q_ 



00 00 



The chart above shows the Factory Multisetup assignment of each Part, the 4 Groups and 
the Control Keys. These assignments can be modified to suit your personal preference, 
then saved in one of the Multisetup locations. 



• Start/Stop Trigger 



• Clear Parts 

• Mute 

• Trig Hold 



Starts the beat sequencer from the beginning of 
the sequence. When latched, pressing once starts 
and pressing again stops. When unlatched, the 
sequence runs as long as the key is held. 
Once the Beats sequencer is started, it continues to 
run even if no triggers are active. 

Start/Stop doesn't clear latched parts when it stops 
the sequencer. Any trigger played after stopping 
will not only start the sequencer and play that trig- 
ger's part, but also play all previously latched parts. 

Clears any enabled parts. This control provides a 
quick and easy way to shut off all latched Parts. 
Latch mode has no effect on this key. 

Mutes all Parts while held, but the Beats sequencer 
continues running. 

When this key is held, all other Trigger Keys 
behave as if they were in Latch mode. 



Proteus 2500 Operation Manual 237 



Arpeggiator/Beats Menu 
Beats Mode 



Beats Mode 



>0 The Basic Channel is the 
MIDI channel currently displayed 
in the Main Screen. 



The Beats sequencer plays as long as any Beats triggers are active. Beats riffs 
can also be Restarted using a MIDI Song Start command even if the Beats 
channel is not currently selected. The Audition LED illuminates whenever 
the Beats sequencer is running (even if no Parts are playing). 

Pressing the Audition button or starting a Demo causes the Beats sequencer 
to stop. Pressing the Audition button plays the riff assigned to the preset. 
BTS and KIT riffs have multiple parts. Other riffs usually have one part. 

All Arp/Beats parameters are saved with the Multisetup. 



This screen turns Beats mode on and has several other features which allow 
flexible control over Beats mode. There are several status modes that 
determine when Beats will be turned on and which Riff will be used. 

Beats and BEAT Triggers can be set to different MIDI channels. This allows 
you to perform on two MIDI channels at once with a keyboard that only 
transmits on a single MIDI channel. 



BERTS MODE 
BtsCh: Basic 



Status: P 
TrigCh:Basic 



Status 

• Off Beats mode off. 

• On Beats mode on. The Riff assigned in the preset is used. 

• P Beats mode is turned on ONLY if the Riff assigned in the 

preset is a "bts:" riff. The Riff assigned in the preset is used. 
(Default setting) 

• M Beats mode on. The Master Riff is used (Arp/Beats menu). 



BERTS MODE 
BtsCh: Basic 



Status: P 
TrigCh:Basic 



Beats Channel (BtsCh) 

• 01-16 Selects the MIDI channel on which Beats play. 

• Basic Beats play on the MIDI channel displayed in the Main Screen. 

Trigger Channel (TrigCh) 

• 01-16 Selects the MIDI channel on which Trigger Keys will be active. 

• Basic Sets the Trigger Keys to the MIDI channel displayed on the 

Main Screen. 



238 E-MU Systems 



Arpeggiator/Beats Menu 
Beats Mode 



&6 

^^ The TRIGGER BUTTONS 
FUNCTION is a new screen 
which changes the 7 6 trigger 
buttons into "Beats Part Mute" 
buttons. 



&6 

You can create your 
own Beats presets by assigning 
a BTS riff in the Preset Edit 
menu. 

• If you don 't select a preset with 
a BTS or KIT riff assigned, only 
the first trigger key may work. 

• Riffs marked "BTS" have 16 
parts. KIT riffs usually have 4 
parts. 



► Beats Setup: 

Set the Trigger Buttons to Beats Mode 

1 . Press the Controllers button on the front panel. 

2. Turn the data entry control clockwise until you find the "TRIGGER 
BUTTONS FUNCTION" screen. 

3. Set the lower line of the display to read, "Play Beats Parts". 

4. Press the Controllers button on the front panel again to exit the menu. 

Set the Trigger Buttons to be Triggers 

5. Press the Triggers button in the Command Functions section of the 
front panel. OK, now you're ready to start playing Beats. 

► Playing Beats: 

Selecting Beats Presets (see sidebar) 

1 . Press the right cursor button twice so that the cursor is located 
beneath the Category field. 



C01 V127 POO R:P User 

036° bts: SynhissOrgan 



=7= 



x 



Category Field 



Preset Name Field 



2. Turn the data entry control until bts: is shown in the Category field. 

3. Press the right cursor button so that the cursor is underneath the 
Preset Name field. 

4. Now turning the data entry control selects ONLY bts: presets! 

Play Beats 

5. Press any of the sixteen front panel Trigger Buttons. Notice that each 
button brings in a specific part. The chart below shows which buttons 
control which part in bts: presets. 



Main Groove 


Alt. Groove 


Perc / Fills 


Instr/Wild 


1. Kickl 


5. Kick2 


9. Perc3/FNI1 


13. Instl/Wildl 


2. Snarel 


6. Snare2 


10. Perc4/FNI2 


14. Inst2/Wild2 


3. Hihatl 


7. Hihat2 


11. Perc5/Fill3 


15. Inst3/Wild3 


4. Percl 


8. Perc2 


12. Perc6/Fill4 


16. Inst4/Wild4 



6. Also notice that the Audition LED comes on when Beats begin playing. 
Beats are simply multitrack Audition Riffs. You can use the Audition 
button to turn Beats on and off. 

7. Try out a few different bts: presets. 



Proteus 2500 Operation Manual 239 



Arpeggiator/Beats Menu 
Beats Mode 



\ 



Wrong FX? In Omni 
mode, the FX assigned to 
channel 2 will be used. In Multi 
mode, the Master FX settings 
will be used. 



Get Busy! 

The Controller knobs can be programmed to control Beats. Check it out! 

8. Scroll to the Preset Patchcords screen in the Preset Edit menu. The 
screen below appears. 



PRESET PRTCHC0RD5 
Midi -> RrpVel 



#01 
+100 



9. Move the cursor under the Cord destination and change it to BtsVari. 
Exit the Preset Edit menu. 



10. 



11. 



Turn controller Knob 15 /O with a Beats Riff playing. This knob now 
controls the Beats Variation parameter. Beats Variation changes which 
parts are playing without changing the number of parts. This makes it 
easy to try out different combinations of Beat Parts. 

Try hooking controller knobs up to other Beats controls such as Beats 
Busy. See "Beats Controllers" on page 241 for more information. 



► To Play Beats on a different MIDI channel: 

Beats can be assigned to a certain MIDI channel while you play the 
keyboard on another channel. (Make sure you have Beats mode set up correctly 
as described in "Beats Setup" on page 239.) 

1. Press the Arp button and turn the data entry control until the screen 
shown below appears. 



BERTS MODE 
BtsCh: Basic 



Status: P 
TrigCh:Basic 



2. Set the Beats Channel (BtsCh) to 01. 

3. Select any bts: preset on channel 1 (main screen). 

4. Press any of the sixteen Beats buttons to start your Beat playing. (Do 
NOT start Beats by pressing the Audition button.) 

5. Press the + Channel button to the left of the LCD to select channel 2. 

6. Select a preset to jam along with the Beat. 

7. The Trigger Keys now play Beats and the other keys play the preset on 
channel 2. 

8. The Audition button can be used to turn the Beat off. (If you try to use it 
to turn Beats on while on channel 2, the Riff on channel 2 will play.) 



240 E-MU Systems 



Arpeggiator/Beats Menu 
Beats Controllers 



Beats Controllers 



Beats can be controlled using the front panel real-time controllers or 
external MIDI continuous controllers. Controllers are patched to Beats 
via the Preset Patchcords located in the Edit menu. The following Preset 
Patchcord destinations control Beats. 

Beat Velocity Group 1-4 (BtsVelGI -> BtsVelG4) 

Parts assigned to one of the four Beats groups can have their velocity scaled 
by the controller input. Since most "bts" presets have velocity controlling 
volume, this control can be used to mix the relative levels of the Groups. 

Beats velocity works as a percent addition. An input value of (or no Cord) 
means change the velocity by 0%. A full scale modulation setting of 100% 
in the Patchcord adds 100% to the velocity value 100% + 100% = 200%. A 
Patchcord setting of -100% subtracts 100% from the velocity (making it 0). 
Beat velocity scalings are reset with a preset change. 

Beat Xpose Group 1-4 (BtsXpsGI -> BtsXpsG4) 

Parts assigned to one of the four Beats groups are transposed by the 
controller input. Transpose works by shifting the keyboard position and 
not by changing the tuning of individual notes. Therefore, on a Beats 
presets (bts), where different instruments are assigned to each key, 
Transpose has the effect of changing the instrument used by a particular 
part. This control ADDS to the Part Transpose set in the Beats Transpose 
screen (page 245). Beat transpose offsets are reset with a preset change. 



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Beat Busy (BtsBusy) 

This destination determines which parts are enabled. Beat Busy will accept 
either positive or negative values. 

• Positive values Add parts to whatever parts are triggered 

• Negative values Remove parts that are triggered. 



Proteus 2500 Operation Manual 241 



Arpeggiator/Beats Menu 
Beats Controllers 



V 



A Patchcord amount of 
50% is enough to drive Beat 
Busy to the maximum setting. 



\ 



Hot Tip! 
Bidirectional Mod Knob: 

Set Controller M to BtsBusy with 
a Cord amount of + 100, then 
add a DC bias to BtsBusy with a 
Cord amount of -50. The 
controller knob now adds or 
subtracts "Busyness". 



\ 



Cool Tip! Connecting 
Key Pressure to Beat Busy at 
50% increases BEAT complexity 
the harder you press. 



Suppose the pitch wheel (which can output both positive and negative values) 
were connected to Beat Busy and four Key Triggers are down. As the pitch 
wheel is moved from center to fully up, the remaining parts will be enabled 
until the pitch wheel is fully up and all parts are playing. Moving the pitch 
wheel from center to fully down, the four triggered parts are sequentially 
removed until at the most negative position of the wheel, no parts are 
playing. 

The Busy control acts on the Beats condition whenever the control is 
changed. Playing more triggers without changing the Busy control simply 
adds them until the Busy control is changed again, at which point it will 
possibly add or subtract parts as needed. 

The interaction between the Busy control, Triggers, Part Velocity and Group 
Velocity can get complicated, but works according to this simple rule: 

WHICHEVER CONTROL WAS LAST CHANGED TAKES OVER 

When interacting with the Group Velocity scale control, the Busy control 
ignores group velocity even when it is set to zero, enabling and disabling 
parts as necessary. If the Group Velocity is changed after the Busy control, it 
takes control, scaling parts as it deems necessary. 

The Busy control does take the Part velocity into account when adding and 
subtracting parts. If a part has a velocity of 0%, it is removed from the list of 
parts that the Busy control adds or subtracts. Therefore, you can use the 
Part Velocity control to remove parts you don't want to hear. 



nram 



\ 



m 



+ Brings in Parts 

\ 

Beat 

Busy 



Played 




— Removes Parts 



Positive controller values bring in new Parts and negative controller values remove 
Parts that are latched or held. In this example, the Pitch Wheel is connected to 
Beat Busy since it outputs negative as well as positive values. 



Beat Variation (BtsVari) 

Beat Variation varies which Parts are brought in and out using the Beat 
Busy control. Increasing this control mixes up the order in which Parts are 
brought in and out, thus providing even more permutations to the Beat. 



242 E-MU Systems 



Arpeggiator/Beats Menu 
Beats Keys/Trigger Layout 



Beats Keys/Trigger 
Layout 

Save your Beats Keys 
Layouts and all other Arp/Beats 
parameters using "Save Setup" 
function in the Global menu. 



This screen assigns the 16 Beats Triggers to keyboard notes on the Beats 
channel. For each Part, Group and Control Key you can select the following 
options: 

• Key Selects which keyboard key triggers the Part 

• Latch The first key press turns the Part on, the next turns it off. 

• Unlatch The Part plays only while the key is held. 

• 1-bar The Part plays for one bar then stops. 



BERTS KEYS LRYOUT 

Part 1 Key: CI unlatch 



1-Bar Trigger Option 

The 1-bar option requires a bit of explanation. When a trigger key is pressed 
before the last beat of the measure, the part will continue playing until the 
end of the measure. If the Trigger Key is pressed after the last beat of the 
measure, the part waits until the next measure before playing. Then it plays 
for the entire measure and stops. The time signature and the measure 
bounds are determined by the particular Beats Riff you are playing. 



Trig Key 

pressed before 

the last beat 



Part continues 
to end of measure 
then stops. 









>■ 










1 


2 


3 


4 


1 


2 


3 


4 j 




Meas 


ure 1 






Measure 2 







Trig Key 

pressed 

here 


Part begins at 
next measure and 
plays entire measure 
















i 














1 


2 


3 


4 


1 


2 


3 


4 






Measure 1 


Measure 2 ! 



Proteus 2500 Operation Manual 243 



Arpeggiator/Beats Menu 
Beats Keys Offset 



Beats Keys Offset 



Beats Part Velocity 



\ 



Use Beats Part Velocity to 
adjust the volume of Beats 
relative to volume of the Pattern 
or Song. 



This function slides the Beats Trigger keys (assigned in the previous screen) up 
and down the keyboard. This makes it easy to change the keyboard location 
of the trigger keys without having to re-assign each key A positive offset 
moves the group of triggers up the keyboard by the designated number of 
keys. Negative offsets move the trigger group lower on the keyboard. 



BERTS KEYS OFFSET 
+000 keys 



n 








n 



Trigger 
Keys 

Beats Keys Offset slides the entire group of beats triggers up or down the keyboard. 



Each note of a Beats Riff can have its recorded velocity scaled by a value 
(from to 120%) of the recorded velocity or the actual played velocity of 
the trigger key can be used (trigger vel). For example, if a note's velocity is 
80, scaling by 110% will increase the note's velocity to 88. This feature 
allows you to control the mix of the different parts in advance or "on-the- 
fly" as you play If a part's velocity is set to 0%, that part will be removed 
from the mix. 

Select Part 



fPs 



BERTS PRRT VELOCITY 



Scaled by: trigger vel 



► To Set the Velocity for each Part: 

1. Press the left cursor button to move the cursor under the Part field. 

2. Select the Part number using the Data Entry Control. Parts 1-16 can be 
selected. (All parts, shown as an "A", can be edited at once if "Edit AW 
Layers" is enabled in the Master menu.) 

3. Move the cursor to the bottom line using the cursor keys and adjust the 
Velocity Scaling percentage using the Data Entry Control. 

4. Repeat steps 1 through 3 for all the Parts you wish to adjust. 

5. Press the Enter/Home button or use the cursor keys to move the cursor 
back to the screen heading. 



244 E-MU Systems 



Arpeggiator/Beats Menu 
Beats Part Transpose 



Beats Part Transpose 



Each Part of a Beat Riff can be transposed up to 36 semitones up or down. 
Transpose works by shifting the keyboard position and not by changing the 
tuning of individual notes. Therefore, on a Beats preset (bts:), where 
different instruments are assigned to each key Transpose has the effect of 
changing the instrument used by a particular part. On a preset where a 
single sound covers the entire keyboard, Transpose will actually transpose 
the sound. 



Select Part 



h 



BERTS PRRT TRRN5P05E 
+00 semitones 



► To set the Transposition for each Part: 

1. Press the left cursor button to move the cursor under the Part field. 

Select the Part number using the Data Entry Control. Parts 1-16 can be 
selected. (All parts, shown as an "A", can be edited at once if "Edit All 
Layers" is enabled in the Master menu.) 

Move the cursor to the bottom line using the cursor keys and adjust the 
Transposition in semitones using the Data Entry Control. 

Repeat steps 1 through 3 for all the Parts you wish to adjust. 

Press the Enter/Home button or use the cursor keys to move the cursor 
back to the screen heading. 



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Part +12 



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Proteus 2500 Operation Manual 245 



Arpeggiator/Beats Menu 
Beats Part Group 



Beats Part Group 



&6 

All Parts assigned to a 
Croup will stop playing when 
the Group key is triggered, then 
untriggered even if the individual 
Parts in the Croup are latched. 



Master Riff 



This screen is where you assign Parts to one of the four Groups. By 
grouping, you can play multiple parts with a single key A part can be in 
one and only one group, or in no groups. 

Select Part 



PI 



BERTS PRRT GROUP 



Group: 



► To Assign a Part to a Group: 

1. Press the left cursor button to move the cursor under the Part field. 

2. Select the Part number using the Data Entry Control. Parts 1-16 can be 
selected. (All parts, shown as an "A", can be edited at once if "Edit All 
Layers" is enabled in the Master menu.) 

3. Move the cursor to the bottom line using the cursor keys and select the 
Group (1-4 or none) using the Data Entry Control. 

4. Repeat steps 1 through 3 for all the Parts you wish to assign. 

5. Press the Enter/Home button or use the cursor keys to move the cursor 
back to the screen heading. 



The Master Riff is selected from this screen. The Master Riff is used when 
Master (M) is selected for Beats in Beats mode enable screen. 



MR5TER RIFF 
Plays: TranzRmbient 1 



3500 



► To Assign the Master Riff: 

1. Use the cursor buttons to move the cursor to the lower line of the 
display. 

Select the desired Riff using the Data Entry Control. (Beats Riffs are 
identified by the bts: prefix.) 

If there is more than one ROM in your unit you can select Riffs from 
any ROM set. Move the cursor under the ROM ID and select using the 
Data Entry Control. 

4. Press the Enter/Home button or use the cursor keys to move the cursor 
back to the screen heading. 



2. 



3. 



246 E-MU Systems 



Arpeggiator/Beats Menu 
Riff Tempo 



Riff Tempo 



Riff Controllers 



This setting determines whether Riff Tempo (the tempo stored with each 
Riff) or the Current Tempo (the Base Tempo from the Master Clock) will be 
used for Beats. Use "Current Tempo" if you want to synchronize Beats with 
the Pattern/Song sequencer. 

To control the Riff Tempo from MIDI clock, set Riff Tempo to "use current 
tempo" and Base Tempo to "use MIDI". 



RIFF TEMPO 
use riff tempo 



► To Set the Riff Tempo Mode: 

1. Use the cursor buttons to move the cursor to the lower line of the 
display. 

2. Select "use riff tempo" or "use current tempo" using the Data Entry 
Control. 

3. Press the Enter/Home button or use the cursor keys to move the cursor 
back to the screen heading. 



Riffs contain preprogrammed real-time control information. This function 
allows you to turn these controllers On or Off for the Riffs. This control 
affects Audition Riffs as well as Beats Riffs. 



RIFF CONTROLLERS 
use riff controllers 



► To Turn Riff Controllers On or Off: 

1. Use the cursor buttons to move the cursor to the lower line of the 
display. 

2. Select "use riff controllers" or "ignore riff controllers" using the Data 
Entry Control. 

3. Press the Enter/Home button or use the cursor keys to move the cursor 
back to the screen heading. 



Proteus 2500 Operation Manual 247 



Arpeggiator/Beats Menu 



248 E-MU Systems 



Effects 



Effects 
Overview 



The Effects Sends 



Proteus 2500 has two stereo effects processors. When playing presets one at 
a time, the two processors can be programmed as part of the preset. When 
the MIDI Mode is set to "multi," the Proteus 2500 uses a global effects 
assignment (Master Effects). The diagram below shows how the effects are 
integrated into the signal path using a parallel effects send/return model, 
similar to a mixing console. 

FX Send Amount 



_ _ 1 


Reverb, Delay 








. i ■ 


Effect 
A 
















r 








v^ > 




\ 
















Preset 




{ r^ 


\ fr, 








M 


If j 

■ — Dry Signal \ 

H> " f 


f > 


Main 
Outs 




i 


— w 










J 






P^ * 


Effect 
B 








1 r\. 






■ U^ " 








i 


Zhorus, Flangi 


t 





FX Send Amount 

On a mixing console you can control the amount of signal each channel 
Sends to the effect bus. This allows each channel to be placed in a slightly 
different "sonic space" which creates an airy, open sound. 

Proteus 2500 uses this basic concept, but works in a slightly different 
manner. There are four effects busses: Sendl-Send4. Each preset or each 
MIDI channel (you determine which), can be directed to one of the four 
busses. Each effect processor has four Send Amounts which allow you to set 
the wet/dry mix on each of the four busses going into the effect. A setting 
of 0% is completely dry (no effect). A setting of 50% contains an equal mix 
of affected and normal (dry) signal. 



Proteus 2500 Operation Manual 249 



Effects 
Effects Overview 



Send 2 and Send 3 are also used to route sounds to the Sub 1 and 2 outputs 
on the back panel. When a plug is inserted into the associated Submix jack 
on the back panel, the Dry portion of the Send is disconnected from the 
effects processor and the Dry signal is routed directly to the output jack. 
The Arrow (->) in the display points to the actual output routing. The 
Dry Send is disconnected from the Effects Processors even if only one plug is 
inserted into a Submix pair. 

The Effects Send is programmed for each layer in the Preset Edit menu. 
These routings can be overruled in the Global menu Mix Output screen by 
changing the submix setting from "preset", which uses the preset routing, 
to Sendl-Send4. In the diagram below, MIDI channel 1A is programmed to 
obey the preset routing which in this case is Send 1. 

OUTPUT SECTION 
& EFFECTS PROCESSORS 



PRESET 
EDIT MENU 




Individual layers or entire MIDI channels can be routed to any of the four busses. 

The four Effect Sends allow you to get the most out of the two effect 
processors. For example, with Effect B set to an echo algorithm, you could 
route one MIDI channel to Send 3 and set the effect amount to 80%. 
Another MIDI channel could be routed to Send 4 with an effect amount of 
only 5%. This is almost like having two different effects! 

The Mix Output function is also useful when sequencing since it lets you 
route specific MIDI channels (and thus sequencer tracks) to specific Sub 
outputs (on the back panel) where there they can be processed with EQ or 
other outboard effects. 



250 E-MU Systems 



Effects 
Effect Types 



Effect Types 



Effect Parameters 



A Effect Types 

Room 1-3 
Hall 1 & 2 
Plate 
Delay 

Panning Delay 
Multitap 1 
Multitap Pan 
3 Tap 
3 Tap Pan 
Soft Room 
Warm Room 
Perfect Room 
Tiled Room 
Hard Plate 
Warm Hall 
Spacious Hall 
Bright Hall 
Bright Hall Pan 
Bright Plate 
BBall Court 
Gymnasium 
Cavern 
Concert 9 
Concert 10 Pan 
Reverse Gate 
Gate 2 
Gate Pan 
Concert 11 



Medium Concert 
Large Concert 
Large Concert Pan 
Canyon 
Delay Verb 1-3 
DelayVerb 4-5 Pan 
DelayVerb 6-9 

B Effect Types 

Chorus 1-5 

Doubling 

Slapback 

Flange 1-7 

Big Chorus 

Symphonic 

Ensemble 

Delay 

Delay Stereo 

Delay Stereo 2 

Panning Delay 

Delay Chorus 

Pan Delay Chorus 1 & 2 

Dual Tap 1/3 

Dual Tap 1/4 

Vibrato 

Distortion 1 & 2 

Distorted Flange 

Distorted Chorus 

Distorted Double 



"A" Effect types contain Reverb and Delay effects. "B" Effect types contain 
Chorus, Flange and Distortion effects. There are 44 "A" effects and 32 "B" 
effects. In addition to the effect type, there are user adjustable parameters 
for each effect. The "A" effects have programmable Decay and High 
Frequency Damping. The "B" effects have user programmable Feedback, 
LFO Rate, and Delay Time. 



Proteus 2500 Operation Manual 251 



Effects 
Effect Types 



Decay 

The Decay parameter is used when setting "A" type effects. Decay sets the 
length of time it takes an effect to fade out. When setting up reverb effects, 
Decay controls the room size and the reflectivity of the room. For larger 
room sizes and greater reflectivity set the Decay value higher. When setting 
up delay effects, the Decay parameter controls how many echoes are 
produced or how long the echoes last. The greater the value, the more 
echoes and longer lengths of time. 

The Decay value range is from through 90. 

High Frequency Damping 

The HF Damping parameter is used when setting "A" type effects. High 
Frequency energy tends to fade away first as a sound is dissipated in a room, 
the HF Damping parameter adjusts the amount of damping applied to the 
signal's high frequency elements which, in turn, changes the characteristics 
of the room. Rooms with smooth, hard surfaces are more reflective and 
have less high frequency damping. Rooms filled with sound absorbing 
materials, such as curtains or people, have more high frequency damping. 

The value range for High Frequency Damping is from through 127. 



Feedback 

The Feedback parameter is used when setting "B" type effects. The Chorus 
and Flange effects have a controllable feedback loop after the delay 
element. Feeding back a small amount of the signal intensifies the effect by 
creating multiple cancellations or images. Higher feedback values increase 
the amount of the Feedback loop. 



The Feedback value range is from to 127. 



LFO Rate 

The LFO Rate parameter is used when setting "B" type effects. Both Chorus 
and Flange effects use a Low Frequency Oscillator (LFO) to animate the 
effect. LFO applied to a chorus effect creates the slight changes necessary 
for a realistic choral effect. Applied to a flanger effect, the LFO moves the 
comb filter notches and adds animation to the sound. 

The LFO Rate value range is from to 127. 



Delay 

Flanging, chorus and echoes are all based on a delay line where the signal is 
delayed by some time period and then mixed back with the unaltered 
signal. This parameter specifies the how much time passes before you hear 
the delayed signal. On some effects, this value cannot be changed. In this 
case, the field contains a dash. 

The Delay value range is from 0ms to 635ms. 



252 E-MU Systems 



Effects 
Programmed 
in the Preset 



Effects 
Effects Programmed in the Preset 



Effects are normally programmed as part of the preset allowing you to have 
a different effect for each. This section describes how to program and 
modify Proteus 2500's preset effects. 



► To Program the Effects as Part of the Preset: 

1. Press the Preset Edit button. The LED illuminates and the Preset Edit 
screen appears. 

2. Use the data entry control to select the FXA Algorithm screen. 



FXR RLGORITHM 
Lg Concert Pan 



3. Select an Effect. Do not select the "Master Effect" setting or the global 
effects set up in the Global menu will be used instead of the Preset 
Effect settings. 

4. Use the data entry control to select the FXA parameter screen. 



FXR DECRY 
90 



HFDRMP FxB>FxR 
127 127 



The FxB -> FxA parameter lets you route the B effect through the A effect. 
See "Effect B Into Effect A" on page 258. 

5. Set the other effect parameters to your preference. Refer to the infor- 
mation in the last section for detailed descriptions of these parameters. 

6. Use the data entry control to select the FXB Algorithm screen. 



FXB RLGORITHM 
Distorted Flange 



7. Select an Effect. Do not select the "Master Effect" setting or the global 
effects set up in the Global menu will be used instead of the Preset 
Effect settings. 

8. Use the data entry control to select the FXB parameter screen. 



Proteus 2500 Operation Manual 253 



Effects 
Master Effects 



Master Effects 



FXB FEEDBK LFORRTE DELRY 
127 127 635ms 



9. Set the other effect parameters to your preference. Refer to the infor- 
mation in the last section for detailed descriptions of these parameters. 

10. Save the preset. The programmed effects setting will be saved along 
with the preset. 



When playing single presets, the effects are normally programmed as part 
of the preset. In Multimode, and when selecting effects via the sequencer, 
the Master effects are used, since there are only two effect processors to 
serve 32 MIDI channels. 

You might also want the effects to be programmed on a global basis when 
in Omni or Poly modes. You could choose your favorite reverb, for 
example, and have it applied to any preset you select. 



► To Program the Master Effects 

1. Press the Global menu button. The LED illuminates and the Global 
screen appears. 

2. Use the data entry control to select the FXA Algorithm screen. 



FXR RLGORITHM 
Lg Concert Pan 



3. Select an Effect. 

4. Use the data entry control to select the FXA parameter screen. 




The FxB -> FxA parameter lets you route the B effect through the A effect. 
See "Effect B Into Effect A" on page 258. 



254 E-MU Systems 



Effects 
Master Effects 



&6 

^^ The MIDI mode (MIDI 
Menu) must be set to Omni or 
Poly mode in order to select the 
effects in the preset. 



5. Set the other effect parameters to your preference. Refer to the infor- 
mation in the last section for detailed descriptions of these parameters. 

6. Use the data entry control to select the FXB Algorithm screen. 



FXB RLGORITHM 
Distorted Flange 



7. Select an Effect. 

8. Use the data entry control to select the FXB parameter screen. 



FXB FEEDBK LFORRTE DELRY 
127 127 m5ms 



9. Set the other effect parameters to your preference. Refer to the infor- 
mation in the last section for detailed descriptions of these parameters. 

10. Press the Preset Edit menu button. The LED illuminates and the Preset 
Edit menu displays the last screen used. 

11. Use the data entry control to access the FXA Algorithm page and select 
"Master Effect A." 



FXR RLGORITHM 
Master Effect R 



12. Repeat step 11 for the FXB Algorithm 

13. Save the preset. The Master effects routing will be saved along with the 
preset. 



Proteus 2500 Operation Manual 255 



Effects 
Master Effects 



Effects Mode 



Flexible Effects 
Control 



s*> 



You can create special 
"Effects Presets " which are 
assigned to the FX Multi mode 
Control channel, then use 
standard MIDI Program Change 
commands to switch effects 
during sequence playback. 



This control provides a true bypass of the effects engine. Bypass is a useful 
feature if you are using external effects at the mixing console and want to 
turn the effects off for all presets. 



► To Bypass the Effects: 

1. Press the Global menu button. The LED lights and the last Global 
parameter screen used is displayed. 

2. Use the data entry control to select the Effects Mode screen. 



FX MODE 
Enabled 



3. Use the cursor button to advance the cursor to the bottom line in the 
screen. 

4. Use the data entry control to change the value. 

5. Press the Enter key to save the settings. 

The Effects Mode values are "enabled" and "bypassed." Enabling the Effects 
Mode turns on effects. Selecting "bypassed" turns off the effects. 

The effects processor controls are very flexible. The effects can be controlled 
in three different ways to suit your personal preference and to adapt to 
different situations. 

When in Omni or Poly mode, effects are normally programmed as part of 
the preset. In Multi mode, the two effects processors can be controlled 
using the Master settings or by using the effects settings of a preset on a 
specific MIDI channel. Effects can be programmed in the following ways: 



1. Programmed as part of the preset when playing single presets 
(Omni or Poly Modes). 

2. Programmed from the Master Effects Section when playing 
either single presets (preset Effect Type set to "Master") or 
when in Multi Mode. This is the typical mode when using the 
sequencer because the master effects settings are saved with 
each pattern. 

3. Programmed from the designated control preset when in Multi 
Mode. 



256 E-MU Systems 



Effects 
Master Effects 



Refer to the following diagram for a look at how effects are programmed. 



1 


Master 

X 
















Preset 
FX 


mm 


I!!!! 1 !!!!!!!! 


- 






(Omni or Poly Mode) 





Effects are part 
of the Preset 



2 


Master 
FX 






Preset 

Ch 1A X 
















!!!!!!!!!!!!!!! 


!!!!!!!!!!!!!! 


- 


• 
• 






Selected by Sequencer 
(Multi mode) 








Preset 

Ch 16B /\ 



Master Effects 



3 


Master 

X 






Preset 

ChIA /\ 
















I 








!!! 




!! 






!! 






- 


• 
• 










(Multi mode) 
Selected FX Control Channel — 




Preset 

FX 

rh i*r r/v 



One Channel's 
Preset determines 
the Effect Settings 



► To Program the Effects Globally for all Presets in Multi Mode: 

1. Press the MIDI menu button. The LED illuminates and the MIDI menu 
screen appears. 

2. Use the data entry control to select the MIDI mode page. Choose 
"multi" for the mode. 



MIDI MODE 
multi 



CHRNGE 
accepted 



Proteus 2500 Operation Manual 257 



Effects 
Master Effects 



Sfc 



The Master effects are 
selected by the sequencer. If you 
want the sequencer to set the 
effects, set Multi mode Control to 
"Use Master Settings". 



Effect B Into Effect A 



3. Move the cursor to the Multi mode Effects Control page using the data 
entry control. 



FX MULTIMODE CONTROL 
use master settings 



4. Set the Effect Control channel to use master settings using the data entry 
control. 

5. Press the Enter key to save the settings and return to the main screen. 



Using the Effects Channel Settings in Multi Mode 

In Multi mode, the two effects processors can be controlled from the Master 
Effects settings or they can follow the effects settings of the preset on a 
special MIDI channel. The effect settings on this special channel will be 
applied to all the other MIDI channels. This allows the effects to be 
changed during a sequence simply by changing the preset on a specified 
MIDI channel. 

► To Program the Effects by Channel Number in Multi Mode 

1. Press the MIDI menu button. The LED illuminates and the MIDI menu 
screen appears. 

2. Use the data entry control to select the MIDI mode page. Choose 
"multi" for the mode. 

3. Move the cursor to the Multi mode Effects Control field using the data 
entry control 

4. Set the Effect Control to "preset on Channel #" (where # is replaced by 
the actual channel number from 1A through 16B) using the data entry 
control. 

5. Press Enter to save the settings and return to the main screen. 

The output of effects processor B can be routed into effects processor A. 
This connects the effects in series instead of their normal parallel configu- 
ration. Two effects connected in series sound very different than the same 
two effects in parallel. For example, a chorus patched through reverb can 
turn a bland string section into a lush wall of sound. The B ->A amount can 
also be controlled for even more flexibility. 

► To Send the Output of Effect B through Effect A: 

In this example, 100% of Effect B will be sent into Effect A. 

1. Access the FXA parameter screen (in either the Global or Preset Edit 
menus) that contains the FXB ->FXA parameter. 



258 E-MU Systems 



Effects 
Master Effects 



FXR DECRY 
127 



HFDRMP FxB>FxR 
127 127 



2. Set this amount to 127. Press the cursor button to return the cursor to 
the top line in the display. 

3. Use the data entry control to select the FXA submix routing parameter 
screen. 



FXR SEND RMOUNTS 
2: 20% 3: 30% 



1: 10% 
M: 40% 



4. Press the cursor buttons to advance the cursor to the Main field. 

5. Set the Main send amount to any amount other than zero. 

6. Press the cursor button again to return the cursor to the FXA title. Use 
the data entry control to advance to the FXB Algorithm page. 

7. Select an effect. 

8. Advance to the FXB submix routing page and set the Main FXB send 
percentage to zero. 

9. Play the keyboard and you should hear the B Effect running through 
Effect A. This patch is shown below. 



Main Send 
50% 




Main Send 
0% -^/ 



Effect A 



Proteus 2500 Operation Manual 259 



Effects 
General Effect Descriptions 



General Effect 
Descriptions 

Reverb 



Reverberation is a simulation of a natural space such as a room or hall. The 
reverb algorithms in Proteus 2500 simulate various halls, rooms and rever- 
beration plates. In addition, there are several other reverb effects such as 
Gated Reverbs, Multi Tap (early reflections), Delay and Panning effects. 
There are two adjustable parameters on the reverb effects - Decay Time and 
High Frequency Damping. 

Decay time defines the time it takes for the reflected sound from the room 
to decay or die away. The diagram below shows a generalized reverberation 
envelope. 




TIME 



Decay Time 



After an initial pre-delay period, the echoes from the closest walls or ceiling 
are heard. These first echoes, or the early reflection cluster, vary greatly 
depending on the type of room. Roughly 20 milliseconds after the early 
reflection cluster, the actual reverberation begins and decays according to 
the time set by the Decay Time parameter. 

High frequency energy tends to fade away first as a sound is dissipated in a 
room. The High Frequency Damping parameter allows you adjust the 
amount of high frequency damping and thus change the characteristics of 
the room. Rooms with smooth, hard surfaces are more reflective and have 
less high frequency damping. Rooms filled with sound absorbing materials 
such as curtains or people have more high frequency damping. 

General Descriptions of the Reverb Types 



Room: Programs simulate small rooms with high frequency absorption 
caused by drapes and furniture. 

Plates: Simulates plate type reverbs with their tight, dense, early 
reflections and sharp reverb buildup. 

Hall: Presets recreate the open, spacious ambience of large concert halls. 

Gated Reverbs: Add ambience only while the original signal is still 
sounding. As soon as the signal falls below a threshold, reverb is cut off. 

Delay: Programs can be used to create echo and doubling effects. 

Multi Tap: Programs consist of the reflection cluster only without the 
reverb decay. 



260 E-MU Systems 



Effects 
General Effect Descriptions 



Chorus 



Doubling 



Slapback 



Stereo Flanger 



The function of a chorus device is to thicken the sound or to make one 
voice sound like many. This effect is usually created by mixing one or more 
delayed versions of the signal with the original. The delay times used are 
too short to be perceived as an echo, but long enough so that comb filtering 
does not occur. In addition, the delay time is varied via a low frequency 
oscillator to simulate the random differences which occur when multiple 
instruments are playing together. A slight amount of feedback improves the 
effect by creating multiple images of the sound as it recirculates again and 
again. 

All the choruses are true stereo using two separate delay lines controlled by 
a single set of controls. The delay times are slightly different for each 
channel and the LFO phase is inverted on one channel to help contribute 
to the overall chorus effect. The LFO Rate and Depth settings are critical to 
achieving a realistic effect, with faster LFO rates generally requiring less LFO 
amount and vice-versa. 



When a copy of a sound delayed by about 26 milliseconds is added back to 
the original, two audio images are perceived by your brain. When the 
delayed image is slightly varied or modulated, the illusion of two voices is 
created. 



Slapback is a single short echo in the range of 50-60 milliseconds. A sound 
delayed by this length of time is perceived as a discrete and separate image 
which is useful for a thickening effect or as a pre-delay for reverb simulating 
a hard, reflective surface such a gymnasium wall. 

A flanger consists of a short audio delay line whose output is mixed 
together with the original signal. Mixing the delayed and original signals 
results in multiple frequency cancellations called a comb filter. Since the 
flanger is a type of filter, it works best with harmonically rich sounds. 





FREQUENCY (log) 
This is the frequency response of a Comb Filter. 

Flanging was originally created using two tape recorders playing identical 
recordings. By exactly synchronizing the two decks and then slowing the 
speed of one by grasping the tape reel flanges, the flanging effect was born. 



Proteus 2500 Operation Manual 261 



Effects 
General Effect Descriptions 



Delay 



Stereo Delay 

Panning Delay 
Dual Tap 



Vibrato 



Distortion 



The Proteus 2500 flanger is a stereo device consisting of two separate delay 
lines controlled by a single set of controls. A Low Frequency Oscillator 
(LFO) varies this initial delay setting, changing the frequency of the 
notches and adding animation to the sound. LFO Rate controls the rate of 
change and LFO Depth controls how much the LFO changes the delay. 

The Feedback control sends some of the delayed signal through the delay 
line again. When feedback is used the comb filter notches are deepened. 



Delay is an effect which can be used for doubling, reverb pre-delay, or 
echoes. 

Delay Time is variable from 0-635 mS and controls the time between 
echoes. Feedback and determines how long the echoes continue sounding. 
"Infinite" delay effects are also possible without the risk of runaway. 



Similar to delay except that the delay line outputs a stereo signal from the 
mono input. The two output signals are a few milliseconds apart to create a 
stereo image. The delay times are variable from 0-635 mS. 

A panning delay is similar to the normal delay lines except that the echoes 
bounce back and forth between the two stereo speakers. 

These are delay lines where the signal is "tapped off" at two unevenly 
spaced locations. When feedback is used, multiple complex echoes are 
produced. The fraction in some of the algorithm names (i.e. 1/3, 1/4) refers 
to the time ratio between the taps. 

Basically, this a delay line modulated by an LFO, but with none of the 
original signal added in. The LFO modulation creates a Doppler shift and a 
resultant cyclical pitch shift. The vibrato created in this manner sounds 
very different than vibrato created by frequency modulating the sample. 

Distortion uses a technique called "soft-clipping" to create additional 
harmonics in the signal. As the level increases, the top of the waveform 
becomes somewhat squared. As the level increases further, it transforms 
into a true square wave. 




Distortion 




Soft clipping gradually squares the edges of the waveform as the amplitude is increased. 



262 E-MU Systems 



Save/Copy Menu 



Save Pattern 



% 



Examine interesting 
presets to learn how they work 
using the Edit menu. 



The Save/Copy button is used to save changes to a pattern, song, preset, 
copy data between presets, randomize presets and to move other types of 
data. The menu is context-sensitive and will start at the appropriate save 
screen. If multiple items need to be saved, then the screens have the 
following priority: pattern, song, preset. Use the data entry control to 
navigate to other pages that support copying information. 

Changes made to the current pattern are not made permanent until the 
pattern is saved. The upper right corner of the display shows the percent of 
memory available for saving patterns. When the display reads 0%, you are 
out of memory and will not be able to save until you have erased other data 
from the sequencer. 

When a pattern (or song) has been edited and needs to be saved, an asterisk 
(*) appears in the display. The asterisk and your edits remain on the edited 
pattern even if you change patterns. Edits are only erased by saving the 
pattern, editing another pattern, invoking the "Revert To Saved" feature 
(page 91), or turning the unit off. 



5RVE PRTTERN to 
000° Rny Pattern Number 



20% 



► To Save a Sequencer Pattern 

1. With the Mode/View selector in "pattern" mode, select the pattern 
you want to save. 

Press the Save/Copy menu button. 

Move the cursor to the bottom line on the display and select a desti- 
nation pattern location. 

Press Enter when you have made your selection. The Enter LED is 
flashing indicating that Proteus 2500 is waiting for your response. 

5. The Sequencer Pattern is now saved into the chosen location. 



2. 
3. 

4. 



Proteus 2500 Operation Manual 263 



Save/Copy Menu 
Saving a Preset 



Saving a Preset 



s*> 



Each time you change a 
preset parameter, an asterisk 
appears in the preset name and 
the Save/Copy button LED 
illuminates reminding you to 
save your work. 



Any time you make a change to a preset, either using the Preset Edit menu 
or by changing the Controller Knobs in Quick Edit mode, you must save 
the preset in order for the change to become permanent. When you save a 
preset it erases any existing preset information in that location. Make sure 
that the destination location does not contain preset information you want 
to keep. 



5RVE PRESET to 

020 1 Destination Preset 



User 



► To Save a Preset 

1. Press the Save/Copy menu button. 

2. Move the cursor to the bottom line on the display. 

3. Select the new preset location using the data entry control. 

4. Press the Home/Enter button. 



264 E-MU Systems 



Save/Copy Menu 
Copy Preset 



Copying 
Information 



Copy Preset 



^ 



All the Sound Navigator 
features work when using the 
Copy functions. 



Copy Layer 



The Copy operations let you copy information from any preset or layer to 
any other preset or layer. To use the copy command, first select the preset or 
layer to which you want to copy (the destination location). Then, from the 
copy screen, select the preset or layer you want to copy to the currently 
selected location (the source location). Using the copy commands you can 
copy preset, layer, Patchcord and arpeggiator information. 

The Copy Preset command lets you copy all of the preset information from 
one location into the preset of the current location. The preset information 
in the source location (the preset location from which you want to copy) is 
not deleted from the original location, just copied to the destination 
location. 



► To Copy a Preset 

1. Select the Preset you want to copy information into. 

2. Press the Save/Copy menu button. 

3. Select "Copy Preset from" using the data entry control. 

4. Select the preset you want to copy using the data entry control. The 
ROM Bank, Preset Number, Bank Number, Category and Preset Name 
fields are all selectable. 

5. Press the Home/Enter button. 

6. A warning appears asking you to confirm once more. Press the Home/ 
Enter button to copy the selected preset into the current location. 



The Copy Layer command lets you copy any layer information from one 
preset into any layer of the current preset location. The layer information 
in the source location (the layer location from which you want to copy) is 
not deleted from the original location, just copied to the destination 
location. 



COPY LRYER User 
020 1 Source Preset 



Ll 



-> 



LM 



► To Copy a Layer 

1. Select the Preset and Layer you want to copy information into. 

2. Press the Save/Copy menu button. 

3. Move the cursor to the bottom line on the display. 

4. Select the preset location using the data entry control, of the preset 
containing the information you want to copy into the current preset. 



Proteus 2500 Operation Manual 265 



Save/Copy Menu 
Copy Patchcords 



Copy Patchcords 



5. Move the cursor to the top line in the display. 

6. Select the layer of the source preset in the first field on the right. 

7. Select the destination layer in the second field. 

8. Press the Home/Enter button. 



The Copy Patch Cord command lets you copy the Patchcord settings from 
one layer of the preset location into the current layer of the current preset 
location. The preset information in the source location (the preset location 
from which you want to copy) is not deleted from the original location, just 
copied to the destination location. 



COPY CORDS User 
020 1 Source Preset 



LI -> LM 



► To Copy a Patchcord 

1. Select the Preset and Layer you want to copy information into. 

2. Press the Save/Copy menu button. 

3. Move the cursor to the bottom line on the display. 

4. Select the preset location using the data entry control, of the preset 
containing the information you want to copy into the current preset. 

5. Move the cursor to the top line in the display. 

6. Select the layer of the source preset in the first field on the right. 

7. Select the destination layer in the second field. 

8. Press the Home/Enter button. 



266 E-MU Systems 



Save/Copy Menu 
Copy Preset Patchcords 



Copy Preset 
Patchcords 



The Copy Preset Patchcord command lets you copy the preset patchcord 
settings from one preset location into the current preset location. The 
preset information in the source location (the preset location from which 
you want to copy) is not deleted from the original location, just copied to 
the destination location. 



COPY PRESET CORDS 
020 1 Source Preset 



User 



► To Copy a Preset Patchcord 

1. Select the Preset you want to copy information into. 

2. Press the Save/Copy menu button. 

3. Move the cursor to the bottom line on the display. 

4. Select the preset containing the information you want to copy. 

5. Press the Home/Enter button. 



Copy Arpeggiator 
Settings 



This function lets you copy the Arpeggiator settings from any ROM or RAM 
preset location into the current RAM (User) preset. 



► To Copy the Arpeggiator Settings 

1 . From the Preset View display select the User Preset you want to copy 
the Arp setting into. 

2. Press the Save/Copy menu button. 

3. Move the cursor to any of the fields on the bottom line on the display. 

4. Use the data entry control to select the preset you want to copy from. 

5. Press Enter when you have made your selection. The Enter LED is 
flashing indicating that Proteus 2500 is waiting for your response. 

6. The Arp Settings are copied into the current preset. 



Proteus 2500 Operation Manual 267 



Save/Copy Menu 
Copy Arpeggiator Pattern 



Copy Arpeggiator 
Pattern 



Copy Preset Bank 



This function lets you copy the Arpeggiator pattern from any ROM or RAM 
preset to any RAM (user) pattern. 



► To Copy the Arpeggiator Pattern 

1. Press the Save/Copy menu button. 

2. Move the cursor to any of the fields on the bottom line on the display. 

3. Use the data entry control to select the preset you want to copy from. 

4. Press Enter when you have made your selection. 



Overwrite pattern: 
00° No Control 



5. Press Enter. The Arp Pattern is copied into the selected User Pattern. 



The Copy Preset Bank command lets you copy an entire bank from any 
ROM or RAM bank location to any RAM (user) bank. This function can be 
especially useful after installing a new sound SIMM. 



► To Copy a Preset Bank 

1. Press the Save/Copy menu button. 

2. Move the cursor to the "From" field on the bottom line on the display. 

3. Use the data entry control to select the preset bank you want to copy 
from. 

4. Move the cursor to the "To" field on the bottom line on the display. 

5. Use the data entry control to select the User preset bank you want to 
copy into. 

6. Press the Home/Enter button to overwrite the bank. 



268 E-MU Systems 



Save/Copy Menu 
Copy Sequencer Pattern 



Copy Sequencer 
Pattern 



Save Song 



This function lets you copy a sequencer pattern from any location into the 
current pattern location. 



COPY PRTTERN from 30% 

96 1 TRRNCED 



► To Copy the Sequencer Pattern 

1. Press the Save/Copy menu button. 

2. Move the cursor to any of the fields on the bottom line on the display. 

3. Use the data entry control to select the pattern you want to copy from. 

4. Press Enter when you have made your selection. 



press ENTER to overwrite 
063° No Control 



5. Press Enter. The pattern is copied into the current Pattern location. 



Changes made to the current song are not made permanent until the song 
is saved. 

When a song (or pattern) has been edited and needs to be saved, an asterisk 
(*) appears in the display. The asterisk and your edits remain on the edited 
song even if you change songs. Edits are only erased by saving the song, 
editing another song, invoking the "Revert To Saved" feature (page 112), or 
turning the unit off. 



5RVE SONG to 
004 :Blank 



30% 



► To Save a Song 

1. Press the Save/Copy menu button. 

Move the cursor to the bottom line of the display. 

Use the data entry control to select the new location for the song. The 
Enter LED will be flashing. 

Press Enter when you have made your selection. The display will 
momentarily flash "Saving Song", and the song will be saved. 



2. 
3. 



Proteus 2500 Operation Manual 269 



Save/Copy Menu 
Copy Song 



Copy Song 



This function lets you copy a song from any location into the current song 
location. 



COPY SONG from 
002 ENTRRNCED 



30% 



► To Copy the Song 

1. Press the Save/Copy menu button. 

2. Move the cursor to any of the fields on the bottom line on the display. 

3. Use the data entry control to select the song you want to copy from. 

4. Press Enter when you have made your selection. 



press ENTER to overwrite 



5. Press Enter. The song is copied into the current song location. 



270 E-MU Systems 



Save/Copy Menu 
Copy Song 



Sound 
Authoring 

Copy User Bank 
to Flash 



$6 

If there is no Flash SIMM 
in the unit, the error message, 
"Requires Flash SIMM" will be 
displayed. 



This is a special purpose function to be used with the Flash sound 
authoring feature. Flash Sound SIMMs created on an EOS Ultra sampler can 
be used as a custom Proteus 2500 bank. Presets are then created in a User 
bank. When the bank of presets is finished, it can be copied, using this 
function, to the Flash SIMM. Flash SIMMs contain two separate memory 
locations. One of these memories contains the sound samples and the 
other memory can hold four banks of 128 presets. 

WARNING: dangerous voltages are exposed inside Proteus 2500! Make 
sure power is completely disconnected from Proteus 2500 before removing 
the top panel. Replace the top panel before restoring power to the unit. The 
two sound SIMM sockets in Proteus 2500, marked and 1, are located 
behind the controller knobs on the circuit board.The destination Flash 
SIMM must be placed in SIMM socket 1. 



COPY USER BRNK TO FLR5H 
From: User To: Flash 2 



► To Copy a User Bank to Flash 

1 . Make sure a Flash SIMM is inserted into the extra Proteus SIMM socket. 

2. Press the Save/Copy menu button. 

3. Rotate the data entry control to select the "Copy User Bank" function 
shown above. 

4. Move the cursor to the "From" field and select the User bank that you 
want to copy to the Flash SIMM. 

5. Move the cursor to the "To" field and select the Flash bank that you 
want to contain the User bank. 

6. Press Enter. The Enter LED will flash and the screen below appears. 



Press ENTER to Overwrite 
Flash SIMM Presets 



7. Press Enter again to confirm. The following screen appears: 



COPYING USER BRNK TO FLRSH 
Done. Please Reboot Now. 



8. The Flash presets cannot be used until Proteus 2500 is rebooted (power 
off then on). Reboot the Proteus 2500 and verify that the new Flash 
bank has been properly copied. 



Proteus 2500 Operation Manual 271 



Save/Copy Menu 
Rename Flash SIMM 



Rename Flash SIMM 



X) The Flash ID is the MSB 
of the MIDI Bank Select 
command used to select the 
Sound Bank. 



<5>& 

If there is no Flash SIMM 
in the unit, the error message, 
"Requires Flash SIMM" will be 
displayed. 



This utility allows you to rename the Flash SIMM and change its ID 
number. Flash SIMMs can have any five letter name you choose. Each Flash 
SIMM in a Proteus 2500 unit must have a unique ID number (106-119). 

The field in the upper right corner selects between multiple Flash SIMMs. If 
only one Flash SIMM is installed, the field cannot be modified. 



RENRME FLR5H SIMM Flash 

New Name: Drums ID: 110 



1. Make sure a Flash SIMM is inserted in a Proteus 2500 SIMM socket. 

2. Press the Save/Copy menu button. 

3. Rotate the data entry control to select the "Rename Flash SIMM" 
function shown above. 

4. Move the cursor to the "New Name" field and rename the SIMM using 
the data entry control to select the letter and the cursor keys to select 
the position. 

Set the Sound ID number for the SIMM. It doesn't matter which 
number you choose as long as the same number isn't used in another 
SIMM. 



5. 



6. 



Press Enter. The following screen appears and the Enter LED will be 
flashing. 



Press ENTER to Update 
Flash SIMM data 



7. Press Enter again to confirm or any other button to abort. The 
following screen appears: 



CHRNGING SIMM NRME & ID 
(takes about 2 minutes) 



8. The Flash presets cannot be used until is rebooted (power off then on). 
Reboot the and verify that the new Flash bank has been properly 
renamed. 



272 E-MU Systems 



Save/Copy Menu 
Duplicate Flash 



Duplicate Flash 



&6 

If there are no Flash 
SIMMs in the unit, or if the 
SIMMs are in the wrong slots, 
an error message will be 
displayed. 



This utility allows you to duplicate Flash SIMMs using. Both Sound and 
Preset data is copied when a Flash SIMM is duplicated. A factory sound 
SIMM cannot be copied using this utility. 

WARNING: dangerous voltages are exposed inside! Make sure power is 
completely disconnected from before removing the top panel. Replace the 
top panel before restoring power to the unit. 

The two sound SIMM sockets in are marked and 1. These are located 
behind the controller knobs on the circuit board. The Flash SIMM you want 
to copy MUST be placed into SIMM Socket 0. The destination Flash SIMM 
must be placed in SIMM socket 1. 



DUPLICRTE SLOT FLR5H 
Start 



1. Make sure the two Flash SIMM are located in the required SIMM 
sockets. 

2. Press the Save/Copy menu button. 

3. Rotate the data entry control to select the "Duplicate Flash SIMM" 
screen shown above. 

4. Move the cursor to the bottom line and press Enter. The following 
screen appears and the Enter LED will be flashing. 



Press ENTER to overwrite 
the Flash SIMM in Slot 1 



5. Press Enter again to confirm or any other button to abort. The 
following screen appears and the SIMM is copied. 



DUPLICRTING SLOT -> SLOT 1 
(Takes about 5 minutes) 



6. When has finished duplicating the SIMM, turn power off, remove the 
copied SIMM, then reboot. That's it! 



Proteus 2500 Operation Manual 273 



Save/Copy Menu 
Duplicate Flash 



Create 

Random 

Preset 



^> 



Examine interesting 
presets to learn how they work 
using the Edit menu. 



This is a great feature which creates a new preset using portions of the ROM 
presets as source material. By merging random presets, really great 
sounding presets can be generated with ease. Use this feature to generate 
wild new sounds, get new programming ideas or just for fun. 



RRNDOMIZE PRESET 
000° Rny User Preset 



User 



► To Create a Random Preset 

1. Press the Save/Copy menu button. 

2. Move the cursor to the bottom line on the display and press Enter. 

3. A new random preset will be created. 

4. Don't like the sound? Press Enter again and a new random sound will 
be generated. 



274 E-MU Systems 



Preset Programming 



Editing 
Presets 



Changing the 
Instrument 



x 



The Preset Edit jump 
Buttons are located in the 
"Command Functions " section 
of the front panel. 



There is so much you can do with the Proteus 2500 it's impossible to 
describe it all. This chapter is will give you a few ideas for programming 
your own custom sounds and contains step-by-step instructions to help 
you get started. In order to get the most from this chapter, we recommend 
you actually try each example. 



One of the easiest ways to make a new preset is to edit an existing preset. 
This is also an excellent way of becoming familiar with Proteus 2500. If you 
don't like what you hear, simply select a new preset, then Proteus 2500 
reverts to the original sound. Changes are not permanent until you Save 
them (see "Saving a Preset" on page 264). 

Let's experiment and modify a few parameters of an existing preset. We'll 
start with functions that have an obvious effect on the sound: Instrument 
Select, Tuning, and Chorus. 

Changing the instrument is the easiest and most dramatic way to modify 
an existing preset. 

► To Change the Instrument for the Current Layer 

1. Choose any cool preset, then press the Preset Edit button. 

2. Press the #1 Jump button twice to jump directly to the Instrument 
page. See "Preset Menu Jump Keys" on page 41. 



L1 INSTRUMENT 
0195 gtr: Jazz Riff 1 



R0M:2500 



3. Move the cursor down to the bottom line (using a Cursor button). 

4. Use the data entry control to change the instrument. This changes the 
instrument for the current layer (in this case it's LI). 

5. Play the keyboard as you scroll through the various instruments. 



Proteus 2500 Operation Manual 275 



Preset Programming 
Editing Presets 



Changing the 
Tuning of an 
Instrument 



► To Change the Instrument for any Layer in the Preset 

6. Move the cursor back up to the first field in the first line (the layer). 

7. Use the data entry control to select the layer you want. 



L ^ INSTRUMENT 
0277 vox:Gothic 



R0M:2500 



8. Repeat steps 3 and 4 for each selected layer. Find an instrument that 
sounds good when combined with the previous instruments selected. 

With all these great instruments to work with, you really can't go wrong. 
Now let's play with the tuning. 

Tuning the selected layer of the preset changes the pitch of the key on the 
controller. If the numbers are "00," it means that the instruments are tuned 
to concert pitch (A=440 Hz). The Coarse tuning value represents whole 
semitone intervals. The Fine tuning value shifts the pitch in 1/64 semitones 
(or 1.56 cents). 

► To Tune the Instrument of the Current Layer 

1. Press the #3 Jump button twice to jump directly to Tuning page. 



Ll JUNING 
Coarse: +36 



Fine: +6 



2. Move the cursor to the Coarse field (using the cursor button). 

3. Set the value to +12 to shift the pitch up a whole octave. To shift the 
pitch in smaller units than a semitone, use the Fine field. 

Try tuning one of the instruments to a perfect fifth above the other by 
setting the Coarse value to +7. 

Tuning an instrument far out of its normal range completely changes the 
character of the sound. For example, if you tune a bass guitar up 2 octaves, 
it's going to sound rather petite. On the other hand, if you tune it down 2 
octaves, you can probably rattle plaster off the walls! Experiment with 
radical pitch shifting. You'll be surprised at the results. 



276 E-MU Systems 



Preset Programming 
Editing Presets 



Chorus 



&6 

^^ WARNING: Since it 

works by doubling the 
instruments, Chorusing halves 
the number of notes you can 
play on Proteus 2500. 



Volume Envelope 



This is an easy one. Chorus works by doubling the instruments and 
detuning them slightly The larger the chorus value, the more detuning 
occurs. The Width parameter controls the stereo spread. A Width value of 
0% reduces the chorus to mono, a value of 100% provides the most stereo 
separation. Chorus is useful when you want to "fatten up" a part quickly 
and easily. 



► To Chorus a Layer 

1. Press the #5 Jump button to jump directly to the Chorus page. 

2. Use the cursor buttons to advance the cursor to the Chorus field (the 
first field in the bottom line of the display). Use the data entry control 
to turn on chorus. 



L1 CHORUS 
off 



WIDTH 
100% 



3. Select a Width value based on the amount of detuning you want. 
Smaller numbers mean less detuning, larger ones more. 

You can select various amounts of chorusing for each of the instruments, 
just play around with the Chorus and Width parameter until you like what 
you hear. 



Every sound you hear, whether it's a piano note, a drum, or a bell, has a 
characteristic volume curve or envelope. This Volume Envelope shapes the 
volume of the sound which grows louder or softer in various ways during 
the course of the sound. The volume envelope of a sound is one of the clues 
our brain uses to determine what type of sound is being produced. 

An envelope shapes the sound or volume of the sound over time. The 
envelope generators in Proteus 2500 all have six stages to the contour: 
Attack 1, Attack 2, Decay 1, Decay 2, Release 1 and Release 2. When you 
press a key on the keyboard, the envelope goes through each of the first 
four stages, advancing to the next stage when the defined Level for each is 
reached. As long as you continue to hold the key down, the envelope 
continues through the first four stages holding at the end of the Decay 2 
level until the key is released. When you release the key, the envelope 
jumps to the Release stages (no matter where the envelope is when you 
release the key) ending at the Release 2 level. 



Proteus 2500 Operation Manual 277 



Preset Programming 
Editing Presets 




Piano 



n 

Organ 




Strings 




Percussion 



>0 Front panel knobs 5-8 
are routed to the volume 
envelope parameters and thus 
affect the settings. You may 
want to disconnect the 
Patchcords to gain total control 
of the envelope parameters. 
(Alternately, you can create a 
completely blank preset and 
start from there.) 



t 

level 



time 




Key Down 



Key Released 



Every instrument in Proteus 2500 has it's own predetermined volume 
envelope which is used when the Volume Envelope parameter is set to 
"factory." By setting the Volume Envelope to "time-based" or "tempo- 
based," we can reshape the instrument's natural volume envelope any way 
we want. By reshaping the volume envelope of a instrument, you can 
dramatically change the way the sound is perceived. For example, you can 
make "bowed" pianos or backward gongs. The diagrams to the left show 
the characteristic volume envelopes of a few common sounds. 

In preparation for this experiment choose almost any of the standard organ 
presets which continues to sustain when the key is held down. Go to the 
Instrument page and set it to "None" on all layers except Layer 1. Now 
you're ready to play with the Volume Envelope. 



► To Setup the Volume Envelope 

1. Go to the Volume Envelope mode screen, by pressing the "Amp" jump 
button, and set the Volume Envelope mode to "time-based." 



Ll VOLUME ENVELOPE 
Mode: time-based 



2. Now move on to the next screen to set the Volume Envelope 
parameters. 



Ll VOL ENV TIME 
Rttackl 50 



LEVEL 
100% 



3. Increase the Attack 1 time value and play a note. The attack controls 
the time it takes for the sound to reach the Attack level when a key is 
pressed and held. 



278 E-MU Systems 



Preset Programming 
Editing Presets 



Working with Filters 



4. Move the cursor to the first field in the bottom line and use the cursor 
buttons to advance to the Release pages. 

5. Increase the Release 1 and 2 times. Note the effect as you release the key 
on the controller. The Release stages controls the time it takes for the 
sound to die away when a note is released. 



► To Setup the Volume Envelope as an ADSR 

The classic synthesizer ADSR (Attack-Decay-Sustain-Release) envelope is 
easy to create using the Proteus 2500 six segment envelope generators. The 
trick is to only use segments: Attackl, Decay2, and Releasel. 

1. Set Atkl, Atk2 & Dcyl levels to 100. 

2. Set Rlsl & Rls2 levels to 0. 

3. Set Atk2, Dcyl and Rls2 rates to 0. 

4. Program the Atkl, Dcy2 and Rlsl segments as you wish. Decay 2 level is 
your Sustain level. 







Sustain i 
Level > 




Used Unused 

Atkl Atk2 
Dcy2 Dcyl 
Rlsl Rls2 


t 

level 


f 


^-^2*7 


time — ► 

K 
Do 


ey 
wn 


Key 
Released 



The filters make it possible to remove certain components of the sound. A 
low pass filter removes the high frequency components or put another way, 
it "lets the low frequencies pass." A high-pass filter removes the low 
frequency components from the sound letting only the high frequencies 
pass. See "Proteus 2500 Filter Types" on page 196 for a complete list of 
Proteus 2500's filters and their descriptions. 

In preparation for the next tutorial, select the Blank Preset. (Select the 
Preset Category and spin the data entry control all the way to the left). 

1 . Go to the Instrument screen (Preset Edit menu) and select Instrument 
#. This is a harmonically rich sound. Since filters work by removing or 
accentuating certain frequencies, we want to make sure that we have a 
lot of frequencies to start with. 

1. Advance to the Filter Type screen using the data entry control. Select 
the Classic 4th order filter. 



Proteus 2500 Operation Manual 279 



Preset Programming 
Editing Presets 



Sfc 



Front panel knobs 1 -2 
are routed to the filter 
parameters and will affect the 
initial settings made here. You 
may want to disconnect the 
Patchcords to gain total control 
over the filter parameters. 



L1 FILTER 
Classic 



Ord 



Type 
LPF 



2. Go to the Filter Frequency and Q screen. Position the cursor in the Freq: 
field as shown in the following illustration. 



L1 FILTER 
Freq: £55 



Q: 000 



The Frequency parameter determines the filter cutoff frequency or the 
frequency the filter uses as the highest frequency allowed to pass. 

If you play the keyboard now, you should hear the raw sound. Slowly 
decrease the filter cutoff frequency value as you play the keyboard. The 
sound gets more and more dull as you remove more and more high 
frequencies from the sound. At some point, the sound completely disap- 
pears. (You have filtered out everything.) The chart on the following page 
illustrates what you just did. 



100h 



Cutoff Frequency 




40 80 160 360 720 14402880... 

Frequency 

3. Open the filter back up to 255, then move the cursor to the Q field. 

4. Set the Q to 10, then move the cursor back under the Freq value. As you 
change the frequency, notice that the sound now has a sharp, nasal 
quality. A high Q boosts or amplifies the frequencies at the cutoff 
frequency (Fc). 

5. Reset the cutoff frequency to the lowest setting and the Q to 00. 



280 E-MU Systems 



Preset Programming 
Editing Presets 



Adding the Filter Envelope 

Now let's modulate the Filter Frequency with the Filter Envelope. The Filter 
Envelope is a device that can automatically change the filter frequency 
during the course of the note. Before we define the Filter Envelope, we need 
to patch the Filter Envelope to the Filter Frequency. 

► To Setup the Filter Envelope 
1 . Go to the Patchcord screen by pressing the Cords Jump Key. 



3. 



4. 



Ll PRTCHCORD 
RlsVel -> RmpVol 



#01 
+100 



Move the cursor below the first field in the bottom line of the display. 
This is the Source field. Use the data entry control to change the 
Source to "FiltEnv" as shown in the following illustration. 

Advance the cursor to the next field. This is the Destination field. Use 
the data entry control to change the destination to "FiltFreq." 

Move the cursor to the last field in the line. This is the Amount field. 
The Amount field determines the amount of modulation applied. Set 
this value to "+100." 



L1 PRTCHCORD 
FiltEnv+ -> FiltFreq 



#01 
+100 



This setup connects the Filter Envelope Generator to the Filter Cutoff as 
shown in the following diagram. 



Instrument 


^- 


Filter 

Fc Q 


w 








^►R 



DCA 



Pan 



+*L 




5. Now, return to the Filter Envelope Mode screen. Set the Mode to 
"time-based." 



Proteus 2500 Operation Manual 281 



Preset Programming 
Editing Presets 



L1 FILTER ENVELOPE 
Mode: time-based 



6. Advance to the Filter Envelope parameter page. 



L1 FILTENV 
Rttackl 



RRTE 
50 



LEVEL 
100% 



7. Move the cursor underneath the time field and change the value to 
about +50. Now when you press a key the filter slowly sweeps up. 



L1 FILTENV 
Rttackl 



RRTE 
50 



LEVEL 
+88% 



8. Change the attack rate and note the change in the sound. 

9. Set the envelope parameters as shown in the following table. 



Envelope Phase 


Time 


Level % 


Attack 1 


40 


65 


Attack 2 


65 


100 


Decay 1 


80 


85 


Decay 2 


25 


50 


Release 1 


97 


20 


Release 2 


73 






With the above setup, the filter sweeps up, then Decays back down to 
the Decay 2 Level until you release the key. Then it sweeps down at the 
Release rates. Play with the envelope parameters for awhile to get a feel 
for their function. (If you're having trouble understanding the Envelope 
Generators, please refer to the Programming Basics section in this 
manual.) 



282 E-MU Systems 



Preset Programming 
Editing Presets 



Changing Filter Types 

Go back to the Filter Type screen shown below and move the cursor down 
the lower line of the display Change the filter type while playing the 
keyboard. There are 50 different filter types. 



L1 FILTER 
Rah-Ry-Eeh 



Ord 
6 



Type 
VOW 



These filters are extremely powerful and have been carefully crafted to offer 
maximum flexibility and musical control. You may want to change the 
Envelope (Patchcord) Amount, Q and/or the Filter Frequency to get the 
right sound for each filter and instrument. These three controls, coupled 
with the Filter Envelope, are perhaps the most important controls on any 
synthesizer. Take the time to learn how they interact with each other and 
you will be able to create sounds beyond imagination. 

Envelope Repeat 

The Envelope Generator can also be made to repeat. When the envelope 
repeat function is On, the Attack (1&2) and Decay (1&2) stages will 
continue to repeat as long as the key is held. 



► To Make the Filter Envelope Repeat: 

1 . Go to the Filter Envelope Mode screen shown below. 

2. Move the cursor to the Mode field. 



Ll FILTER ENVELOPE 
Mode: time-based 



3. Turn the data entry control clockwise. The Mode field will change to 
Repeat as shown below. 



Ll FILTER ENVELOPE 
Repeat: on 



4. Move the cursor to the on/off field and turn Envelope Repeat On. 

5. Play a key on the keyboard. You should now hear the envelope 
repeating. 



Proteus 2500 Operation Manual 283 



Preset Programming 
Editing Presets 



Practice Modulating 



6. Go back to the envelope parameter page and adjust the Attack 1&2, 

and Decay 1&2 parameters. The repeating envelope cycles through 
these four stages as long as the key is held. 

• Try modulating the pitch with the Filter Envelope generator. 

• Use Velocity to modulate the Filter Envelope Patchcord or the Filter 
Frequency. This brightens the sound as you play harder. 

• Program the LFO to modulate Filter Frequency and Volume (Patch- 
Cord screen). 

• Modulate the LFO with the other LFO, with Velocity and with the 
Touchstrip or Pitch Wheel. 

• Examine the Factory presets to learn how they're constructed. There 
are lots of cool synthesis tricks you can use in your own presets. 

• We've programmed the front panel knobs our way but since they're 
completely programmable there's no reason why you can't create 
your own custom controls. 

• Think of ten exotic modulation routings, then try them out. 
Experimentation is the key to learning how to control Proteus 2500. 



284 E-MU Systems 



Preset Programming 
Editing Presets 



Troubleshooting 



A common source of confusion when working with the filter envelope is 
that the Attack or Release parameters might not seem to be working 
correctly. If you are not getting the expected result, try to analyze the 
situation. There will be many times when you will have to stop for a 
minute and think, "What am I trying to do and why isn't it working?" 
When this happens (and it will), don't panic. Troubleshooting is a normal 
part of the synthesis process. Simply examine the various parameters and 
try to be as analytical as possible as you solve the problem. The solution is 
usually simple. ("The filter is already wide open and can't open any more." 
or "Another Patchcord is connecting something to the parameter and 
affecting it.") Learning to play any instrument takes a little patience and 
practice. 

Referring to the diagram below which shows the Proteus 2500 signal flow, 
notice that the DCA comes after the Filter. The DCA controls the final 
volume of the sound, so if the filter's release is longer than the release for 
the DCA, you won't hear it, because the DCA has already shut off the 
sound. 



Instrument 



Z-Plane 
Filter 




You're getting the general idea by now. Remember not to select a new 
preset before saving the current one or all your changes will be lost (the 
preset reverts to the last saved version). If you want to save your creation, 
select the Save/Copy menu and select a destination preset location for your 
masterpiece, then press Enter. 

Because you can save your work, it's worth spending time to get the sound 
just right. When designing sounds you become an instrument builder as 
well as a musician. With Proteus 2500 you can design the custom radical 
instruments you've always wanted! 



Proteus 2500 Operation Manual 285 



Preset Programming 
Linking Presets 



Linking 
Presets 



x 



See "Preset Links" on 
page 218 for more information. 



Using the Link pages in the Edit menu is a quick and easy way to create new 
sounds. Use the Links to "layer" presets and to "split" a keyboard into 
sections containing different sounds. 

► To Layer Two Presets 

1 . Select the first preset you want to layer. 

2. Press the Preset Edit button. 

3. Go to the Link screen by pressing the Links Jump Key. 




4. 



5. 



Move the cursor to the second line of the display. Select the preset you 
want to link with the preset you selected in step 1. Play the keyboard as 
you scroll through the various presets to hear the results. 

If you want the link to be a permanent part of the preset, be sure to save 
the preset. Otherwise, simply change the preset to erase your work. 



► To Create a Split Keyboard Using Links 

1. Follow steps 1 through 4 above. 

2. Press Enter and use the Jump Key to advance to the next page. 



LINK 1 
RRNGE 



C-2 



KEY 



VEL 
000 127 



3. Set the keyboard range of the linked preset as desired. 

4. Press Enter and use the data entry control to go to the Key Range page 
using the Ranges jump key. 




5. Set the range of the original preset so it fills the remaining keyboard 
area. Save the preset. 



286 E-MU Systems 



Appendix 



This section provides some of the more technical information about 
Proteus 2500. 

In this appendix, you will find information about velocity curves, MIDI 
commands and Patchcord charts. 



Front Panel 

Knob 

Functions 



The front panel knob functions are standardized for most of the factory 
presets. The typical functions of the controller knobs are described below. 
Match the controller knobs on an external MIDI controller to the Realtime 
Controller Assignments in the MIDI menu if you want to externally control 
these functions. 



l/A^_ O 2/B O 3/C O 4/D O 

o © © o 

Filter Cutoff Filter Q Filter Attack Filter Decay 



5/E __^ O 6/F ^^ O 7/G ^_^ O 8/H ^_^ O 



o 





o 



Amp Attack Amp Decay Amp Sustain Amp Release 



9/1 O 10/ j O 



Vel— Amp Vel— Filter 



ll/K O 12/L __ O 



LF02 Amount LF02 Rate 



IA Q 



a Mod 1 



Mod 2 



15/0 j^ . O 16/P ^^_ O 



Arp Velocity Arp Gate 



Proteus 2500 Operation Manual 287 



Appendix 
Presets 



Knob Controller 
Descriptions 



s*> 



The Front Panel Knobs 
can be reprogrammed for each 
preset and stored in any of the 
User Presets. The functions 
shown here are the factory 
programmed settings. 



Presets 

Proteus 2500 Preset 
Categories 



Filter Cutoff Filter Frequency 

Filter Q Filter Resonance 

Filter Attack Filter Envelope Attack Rate 

Filter Decay Filter Envelope Decay and Release Rate 

Amp Attack Volume Envelope Attack Rate 

Amp Decay Volume Envelope Decay Rate 

Amp Sustain Volume Envelope Sustain Level 

Amp Release Volume Envelope Release Rate 

Velocity -> Amp Key Velocity to Volume 

Velocity -> Filter Key Velocity to Filter Frequency 

LFO 2 Amount LFO 2 Amount 

LFO 2 Rate LFO 2 Frequency 

Mod 1 Alternate Modulation Parameter 1 

Mod 2 Alternate Modulation Parameter 2 

Arp Velocity Scales the Velocity values of arpeggiated notes 

Arp Gate Varies the arpeggiator Gate Time 



The Proteus 2500 presets are organized in categories according to the types 
of sound. Listed beiow are the categories and their three fetter prefixes: 



arp: Arpeggiated 


air: 


Wind noise instrument 


bas: Basses 


bel: 


Beffs 


bpm: Synchro-sonic, clocks 


bts: 


BEATS presets 


edg: Edgy, cutting 


gtr: 


Guitar 


hit: Shorter 


key: 


Keyboard instrument, organ 


kit: Drum kit 


led: 


Leads 


pad: Sustained, pad-like 


nse: 


Noises 


raw: Pfayable, vanilla 


pre: 


Percussion 


syn: Complex, harmonically rich 


sfx: 


Sound Effects 


wal: Dense, harmonically compfex 


vox: 


Vocals 



288 E-MU Systems 



Appendix 
Preset Listing 



Preset Listing 



User Bank 0, Proteus 2500 Bank 



0. arp:Guitartar 

1. kit:D&B Tight 

2. stnGolden 

3. bas:Sustainer 

4. gtr:Clean String 

5. bts:Foggy 

6. led:UnderTone 

7. key:Piano Grand 

8. brs:Section 8 

9. syn:ThikPlsLayer 

10. vox:Christmas 

11. hit:RingaDinDing 

12. wnd:Reeds&String 

13. prc:Q Stick 

14. bpm:Trekia 

15. padjapan Town 

16. sfx:At the Races 

17. bas:Sub Blipper 

18. key:DownTheRhodz 

19. key:Late Night 

20. key:GlassPiano 

21. k*y:Piano Mio 

22. key:StereoGrandl 

23. key:StereoGrand2 

24. k*y:Grande 

25. key:Piano/String 

26. key:Piano Pad 

27. key:EP 1 

28. key:EP2 

29. key:EP3 

30. key:EP 4 

31. key:EP5 

32. key:EP 6 

33. key:Wurly 

34. key:Wurly Tramp 

35. key:ClavStandard 

36. key:Process?Clav 

37. k*y:Elecro7CP80 

38. key:Fuzzy Pad 

39. key:l-900Rhodez 

40. key:Haunted EP 

41. key:TwinkleToes 



42. key:Missy 

43. k*y:Techno Piano 

44. k*y:HonkTonkeyz 

45. key:Eno's Piano 

46. key:FM JazzSplit 

47. key:Bass/Keysl 

48. key:PianoString2 

49. key: Piano/Synth 

50. key:Piano/Str/EP 

51. key: Piano/Analog 

52. key:Comp n' Pad 

53. key: Stage Piano 

54. key:Pno/Str/EP2 

55. key:B-3 3rd 

56. key:B-3 2nd 

57. key:B-3 Lo/Hi 

58. key:B-X Fade 1 

59. key:B-XFade2 

60. key:B-3 Leakage 

61. key: Distortion 

62. key:B-Hive 

63. key:Assasin 

64. key:Munchkin B3 

65. key:AutoChord 

66. key:(B3- PI)/7 

67. key:Pno/Str/EP3 

68. key:Space Case 

69. key:Clav Metal 

70. key:Clav 2 

71. key:Sweet Ballad 

72. bas:ATC3* 

73. bas:Sub 1 

74. bas:Sub 2 

75. bas:Sub 3 

76. bas:BigDX 

77. bas:Perco Plus 

78. bas:Micro Moog 

79. bas:Basic Moog 

80. bas:Log Bass 

81. bas:PopGrowler 

82. bas:ChubbyChaser 

83. basjaguar Bass 



84. bas:InYourFace! 

85. bas:Modem 

86. bas:Nerdo 

87. bas:Synth Bass 

88. bas:PlasticBass 

89. bas:Taurus 

90. bas:Less Than 

91. bas:FingerSlapl 

92. bas:FingerSlap2 

93. bas:Slap 1 

94. bas:Slap 2 

95. bas:Over Picked 

96. bas:Finger 1 

97. bas:Finger 2 

98. bas:SE 

99. bas:Street 

100. bas:Finger Snap 

101. bas:Bang'in Up 

102. bas:Basss ic 

103. bas: Acoustic 

104. bas:Upright 1 

105. bas:Upright 2 

106. bas:Switch Up 

107. bas:Harms 

108. bas:Fretless 1 

109. bas:Fretless 2 

110. bas:Fretless 3 

111. bas:Fretless 4 

112. bas:Fretless 5 

113. bas:Fretless 6 

114. bas:LookMaNoFret 

115. bas:Driver 

116. led:TooMuchLead 

117. led:Bender 

118. led:SquareChorus 

119. led:BallsOut 

120. led:Spiraling 

121. led:Prophetic 

122. led:OneBigMoFo! 

123. led:Class Lead 

124. led:Pulse Lead 

125. led: Worm 5 

126. led:EKKo 

127. led:Tutor 



Proteus 2500 Operation Manual 289 



Appendix 
Preset Listing 



Preset Listing 



User Bank 1, Proteus 2500 Bank 1 



0. kit: Acoustic 1&2 

1. kit:Acoustic 3&4 

2. kitDance 

3. kit:Kit01 

4. kit:Kit02 

5. kit:Kit03 

6. kit:Kit04 

7. kit:Kit05 

8. kit:Kit06 

9. kit:Kit07 

10. kit:Kit08 

11. kit:Kit09 

12. kit:Kit 10 

13. kit:Kit 11 

14. kit:Kit 12 

15. kit:Kit 13 

16. kit:Kit 14 

17. kit:Kit 15 

18. kit:Kit 16 

19. kitSwing Hop 1 

20. kit:Swing Hop 2 

21. kitSwing Hop 3 

22. kit:GM Dance 

23. kit:E-mu2003 

24. kit:FunDaMental 

25. kit:Booster 

26. kit:All Niter 

27. kit:StadiumRockr 

28. kitHard Ass 

29. kit:CurrentBeatz 

30. kit: Crackle Kit 

31. kitTainted 

32. kit:BarelyLegal 

33. kit:SicKFx 

34. kit:Krunkee 

35. kit:Streetwise 

36. bts:RasclyRapper 

37. bts:WhatNow!#$%? 

38. bts:RaD RaceR 

39. bts:FilterPhaser 

40. bts:BiteZapper 

41. bts:Inna City 



42. bts:Ripped 

43. bts:Detourant 

44. bts:MAD Onna 

45. bts:Bleak 

46. bts:Magnetic 

47. bts:Stringy 

48. bts:CuzIWuzStond 

49. bts:Electro 

50. bts:Jungle*Club 

51. bts:Moderno 

52. bts:Nu Metal 

53. bts:Outside 

54. bts:Rubbish 

55. bts:Smasher 

56. bts:BigPimpin! 

57. bts:ChunkyButt 

58. bts:PhatterStill 

59. bts:Lowness 

60. bts:FreakShifter 

61. bts:Maestro 

62. syn:Unsuspecting 

63. kit:KastOff 

64. prc:Kicks 1 

65. prcKicks 2 

66. prc:Snares 1 

67. prc:Snares 2 

68. prcHats 1 

69. prc:Hats 2 

70. prcCymbals 1 

71. prc:Cymbals 2 

72. prcToms 1 

73. prc:Toms 2 

74. prc:Shakers 

75. prc:Maracas 

76. prc:Timbales 1 

77. prc:Timbales 2 

78. prc:Congas + 1 

79. prcCongas + 2 

80. prcBells 1 

81. prc:Bells 2 

82. prc:Blocks 1 

83. prc:Blocks 2 



84. prc:Tams 1 

85. prc:Tams 2 

86. prcClaps 1 

87. prcClaps 2 

88. preSnaps 

89. prcClaves 

90. prc:Orch 

91. prc:Misc 

92. prc:Misc Perc 1 

93. prc:Misc Perc 2 

94. prc:Vibraslap 

95. prc:Guiro Roll 

96. prc:Cowbells 

97. prc:Agogos 

98. prc:Carillon 

99. prc:Belltree 

100. prc:Flexi 

101. prc:Soft Vibes 

102. prc:Hard Vibes 

103. prc:Both Vibes 

104. prcVibeSwap 

105. prc:Xylo 

106. prc:Marimba 

107. prc:Kalimba 

108. prc:Plexy 

109. prcKikKastr 

110. prc:XcitSyn 

111. prcXcite 

112. prc:MetalThing 

113. prc:I lands 

114. prc:Squelch! 

115. str:Big Layerz 

116. pre: Vibe Split 

117. bel: A Pale Horse 

118. bekChimes 

119. bekDroplets 

120. bekPlinkerBells 

121. bekTinker 

122. bekHauntedBells 

123. bekMetal Trip 

124. key:Foot Keyz 

125. key:NightOrgan 

126. key:Dyno Grand 

127. key:Tines 



290 E-MU Systems 



Appendix 
Preset Listing 



Preset Listing 



User Bank 2, Proteus 2500 Bank 2 



0. led:Wormy 

1 . led:Warning! 

2. led:Warm Worm 

3. hit:Organ Hits 1 

4. hit:Dance Chord 

5. hit:Voxxy 

6. hit:Garagiste* 

7. hit:HellaBoom 

8. hit:Honker 

9. hit:Cazio Jamin! 

10. hit:EchoOrgan 

11. hit:Get Funky! 

12. hit:Sad Ending 

13. hit: Vox Hits 

14. hit:Brassist 

15. hit:Lush Dance 

16. bas:PWM Oldskool 

17. bas:Octave Cat 

18. led:FusionMini 

19. led:HippoSauce 

20. vox:REBman 

21. vox:Aah 1 

22. vox:Aah 2 

23. vox:Ooh 1 

24. vox:Ooh 2 

25. vox:Filter 1 

26. vox:Filter 2 

27. vox:Filter 3 

28. vox:Filter 4 

29. vox:Big Chorus 

30. vox:Talk to Me 

31. vox:Harmony 

32. vox:Male 

33. vox:Shimmerings 

34. vox:ReflecSyn 

35. vox:Luna'sWood 

36. vox:TV Land 

37. str:Orchestral 

38. str:Orchestra2 

39. str:Sectionl 

40. str:Section2 

41. str:Pizz 1 



42. str:Pizz 2 

43. str:Tron Strings 

44. str:Quartet 

45. str:Section/Qrt 

46. str:Leg/Pizz Cmb 

47. str:Legato/Pizz 

48. str:RubbrStrngs 

49. str:ProcessoTron 

50. str:DramaQueen 

51 . str:FilmLayerz 

52. str:WeirdStrngs 

53. str:Digital 

54. str:Neo Strings 

55. str:Asia Layers 

56. str:Solo Strings 

57. str:Solo & Sect 

58. str:Trio Solo 

59. stnFluteTron 

60. str:String Pad 

61 . str:UltraTron 

62. cmb:String/Brs w 

63. cmb:Brass/Tenor 

64. cmb: Analog 1 

65. cmb:Nylon/Str w 

66. cmb:Analog 2 

67. cmb:Fear Day 

68. cmb:SoloStr & EP 

69. cmb:Cool 5th 

70. cmb:Strung Block 

71. ore: SoloStr& Wind 

72. oreS.Sax&Winds 

73. led:ManyASquare 

74. brs:SforzandoSct 

75. brs:TaDa! 

76. brs:Trumpet 

77. brs:Mute Trmpt 

78. brs:Glide Bone 

79. brs:Big Band 

80. brsjazz Combo 

81. brs:Brass Hits 1 

82. brs:Brass Hits 2 

83. brs:The Trumpet 



84. brs:3 Bones 

85. brs:2 Trumpets 

86. brs:Trump&Bonesl 

87. brs:Trump&Bones2 

88. brs:Matrix Horn 

89. brs:Pseudo Brass 

90. wnd:Tenor Sax 

91. wnd:Oboe 

92. wnd:Clarinet 

93. wnd:FluteCake 

94. wnd:BariSax 

95. wnd:Squeel 1 

96. wnd:Squeel 2 

97. wnd:AltoSax 

98. wnd:TenorSax 

99. wnd:Synth Flute 

100. wnd:Flute & Oboe 

101. wnd:Saxophones 

102. wnd:New Ager 

103. wnd:Clarinuff 

104. gtr:Singlecoil 

105. gtr:Nylon 

106. gtr: Electric Pwr 

107. gtr:SoloJazz 

108. gtr:Trash 

109. gtr:Thrash Lead 

110. gtr: Surf 1 w 

111. gtr:Surf2w 

112. gtr: Chord Chuck 

113. gtr:Mo'Mutes 

114. gtrjazz Slide w 

115. gtr:SlamitDown 

116. gtr: Acoustic 

117. gtrjazz 

118. gtr:Nylon 

119. gtr: Steel 

120. gtr: Ghosted 

121. gtr:Seduced 

122. gtr:Cordal 

123. gtr:Nylon&on 

124. gtr:Hard Garage 

125. gtr Jazzy Comp 

126. gtr: Enchantment 

127. gtr:Nylonium 



Proteus 2500 Operation Manual 291 



Appendix 
Preset Listing 



Preset Listing 



User Bank 3, Proteus 2500 Bank 3 



0. pad:Richness 

1 . pad:Your Fault 

2. pad:PianoMeltz 

3. pad:OutofTime 

4. pad:Moon Flute 

5. pad:01dSaws 

6. pad:Evidence 

7. pad:EvenMoEPIC! 

8. pad:Under 

9. pad:Life 

10. pad:Phatt 

11. pad:Keyngdom 

12. pad:Dance Chord 

13. pad:Brassage 

14. pad:Crystal 

15. pad:Elysium 

16. pad:CloudBuster 

17. pad:Star Seeker 

18. pad:Trilogy 

19. pad:Squirmy 

20. pad:Paddy Cake 

21. pad: Vector 

22. pad:Velour 

23. padjarreing 

24. pad:PWMpathy 

25. arp:Azian 

26. vox: Percolator 

27. hit:HouseStrum 

28. hit:Disco Stab 

29. gtr:Mute Trails 

30. gtnMute 5ths 

31. syn: Re Entry 

32. syn:Dance Split 

33. syn: Pluck Pad 

34. syn:Profit 500 

35. syn:ClassicMoog 

36. syn:Synth Bass 

37. syn: Sync 

38. syn: Saw Fifths 

39. syn:VFX Stack 

40. syn:Big Dance 

41. syn:RiffTrip 



42. syn:Brazz 5ths 

43. syn:VS 

44. syn:Goliath 

45. syn:Xtra Large 

46. syn:Major Saw 

47. syn:Minor Saw 

48. syn:JP Six 

49. syn:Row Tate 

50. syn:Rezelle 

51. syn:SlowRide 

52. syn:LFO Synth 

53. syn:FrogLead 

54. syn:UbuII 

55. syn:Serial Fly 

56. syn:Matrix Pad 

57. syn:CZone 

58. syn:Benda 

59. syn:Asian Dreams 

60. syn:Big Comp 

61. syn:Chipper 

62. syn:RubberBands 

63. syn:PeachyFuzz 

64. sfx:Porch*Night 

65. sfx:SFX 1 

66. sfx:SFX2 

67. sfx:Scratches 1 

68. sfx:Scratches 2 

69. sfx:MCScratch 

70. sfx: Space Wiggle 

71. sfx:HeavySynth 

72. sfx:Slicer 

73. sfx:Cymbolater 

74. sfx:Post Razz 

75. sfx:Goblins 

76. arp:Vectrek 

77. sfx:8BitGameOver 

78. nse:WinditDown 

79. nse:SpaceDreams 

80. arp:Synth Bass 

81. arp:Syrup HP 

82. arp:LowPercRoll 

83. arp:MadEndingYo 



84. arp:Plucked 5ths 

85. led:DX Gone Mini 

86. led:Lego 

87. bpm:PWM Voxation 

88. bpm:Classic 

89. bpm:Drum 1 

90. bpm:Drum 2 

91. bpm:Drum 3 

92. bpm:Octover 

93. bpm:Chaser 

94. gtr:Nyl ONDa 

95. bas:KillerSE 

96. bas:Fing'd 

97. bas:Finger Oxx 

98. bas:Hangem Mono 

99. bas:Hiptainer 

100. bas:Container 

101. bas:Go Deep 

102. bas:Drop Sub 2 

103. bas:Drop Sub 3 

104. bas:Low Rider 

105. bas:PopSlidah 

106. bas:Real Low 

107. bas:SubH20 

108. bas:Subber 1 

109. bas:Subber 2 

110. bas:Wheel Wide 

111. bas:Pepper Bass 

112. key:Simple EP 

113. key:TineEP 1 

114. key:TineEP2 

115. key:TineEP3 

116. key:Pianostic 

117. key:Spread Grand 

118. key: Chorus Dyno 

119. key: Piano & Pizz 

120. key:Dramatic 

121. key: Drama At Sea 

122. key:Polarity 

123. key:Piano Night 

124. syn:Pliedes 

125. syn:Sensitive 

126. syn:SoftClipHarp 

127. default VI. 



292 E-MU Systems 



Appendix 
Preset Listing 



Proteus 2500 
Pattern Layout 



The Proteus 2500 factory patterns range from 4-16 bars long using 8 to 16 
tracks each. Use the Track Enable/Mute buttons to bring parts in and out. All 
instrument tracks are in the key of C. 



MAIN PARTS 


Lead 
1 


Comp 
2 


Vox 
3 


Misc Misc 
(Hit/Vox 2) (Comp 2) 

4 5 


Misc 
(Lead 2) 

6 


Misc 
(Bass 2) 

7 


Bass 
8 


□ 


E C 


EXJ 


□ 


□ 


□ 



Kick 
Pattern 1 



Snare 
Pattern 1 

10 



Hat 
Pattern 1 

11 



Perc 1 Kick Snare Hat Perc 2 

(Fill 1) Pattern 2 Pattern 2 Pattern 2 (Fill 2) 

12 13 14 15 16 



EEirnng 




MAIN GROOVE 



ALTERNATE GROOVE 



Pattern Track List 





MAIN PARTS 


Track 1 / Channel 1 


Lead 


Track 2 / Channel 2 


Comp 


Track 3 / Channel 3 


Vox 


Track 4 / Channel 4 


Misc or Hit/Vox 2 


Track 5 / Channel 5 


Misc or Comp 2 


Track 6 / Channel 6 


Misc or Lead 2 


Track 7 / Channel 7 


Misc or Bass 2 


Track 8 / Channel 8 


Bass 




MAIN GROOVE 


Track 9 / Channel 9 


Kick Pattern 1 


Track 10 / Channel 10 


Snare Pattern 1 


Track 11 / Channel 11 


Hat Pattern 1 


Track 12 / Channel 12 


Percussion 1 or Fill 1 




ALTERNATE GROOVE 


Track 13 / Channel 13 


Kick Pattern 2 


Track 14 / Channel 14 


Snare Pattern 2 


Track 15 / Channel 16 


Hat Pattern 2 


Track 16 / Channel 16 


Percussion 2 or Fill 2 



Proteus 2500 Operation Manual 293 



Appendix 
Pattern Listing 



Pattern Listing 



^> 



The number after the 
pattern name is the tempo 
beats per minute. 



0. VenAMi 108 

1. Smoover 179 

2. Healing 120 

3. Bangin 112 

4. Jazz Surprise 150 

5. YouDaMan 107 

6. Heartland 121 

7. LEBLEUZ 170 

8. Getcha DanceOn 120 

9. Big Band A&B 103 

10. Visual E 120 

11. NARANJA 102 

12. PearlDiver 120 

13. Chainless 152 

14. Django&John 114 

15. Jig 110 

16. The Chase 140 

17. Puff Tuff 108 

18. Sporadic 182 

19. Wack Batch 100 

20. AL@Nite 70 



21. DblTime 80 

22. Funkensteen 86 

23. J-Star 88 

24. Station 17 91 

25. Screwface 91 

26. You and I 91 

27. Baby's Fsace 92 

28. Fastbuk Blues 95 

29. DiddyBop 95 

30. Hangtime 95 

31. AutumnFalling 96 

32. RiskyBizness 96 

33. Hayride 97 

34. Juumba 98 

35. Dat's Right 100 

36. Dramatic A 100 

37. Dramatic B 100 

38. LowRider 100 

39. ColdCut 100 

40. SEJive 100 

41. Tower 100 



42. HipFela 101 

43. StarSeeker 104 

44. Swingin 104 

45. Latina 105 

46. Like Butta 06 

47. WorldBeat 108 

48. Blunt 110 

49. BEATNIX 112 

50. HighDesert 112 

51. Wangadang 114 

52. Hard Times 115 

53. Less Than 119 

54. Mi Amor 120 

55. PimpDaddy 120 

56. SpanishFly 120 

57. Make it Stop 120 

58. According 128 

59. Bailar 132 

60. In the Mix 134 

61. Speedjam 170 

62. Big Band 2270 



Song Listing 



1. Jukebox 0-11 

2. Visualyz$ 

3. Fadin Lights 

4. Glad Band 

5. Chase 



6. Heritage 

7. CommunitasGratis 

8. Bop Arise 

9. Eringobraugh 
10. InfernalDisco 



11. Lucky2knyT 

12. Fallen Autumn 

13. Muchas Gracias 

14. Visualyz$ ReMix 

15. Jukebox 0-11 FX 

16. All Patterns 



294 E-MU Systems 



Appendix 
Riff Listing 



Riff Listing 



0. KEY-C3 

1. KEY-C3 (2 Bars) 

2. KEY-C3 (4 Bars) 

3. KEY-C4 

4. KEY-CsUp 

5. KEY-Cs Up-Down 

6. KEY-C Triad 

7. KEY-Cm7 

8. KEY-Cm9 

9. KEY-Cmaj7 

10. BAS-2600 

11. BAS-3 Worm 

12. BAS-AKuStq 

13. BAS-ATC3 

14. BAS-BadTube 

15. BAS-Brolin's 1st 

16. BAS-Distorto-TB 

17. BAS-Easy 

18. BAS-Fingerl 

19. BAS-Fingered In 

20. BAS-FingerHarms2 

21. BAS-Finger Out 

22. BAS-Finger&Harms 

23. BAS-FourU 

24. BAS-Fretless 

25. BAS-Lowness 2 

26. BAS-Lowness 3 

27. BAS-Froggy 

28. BAS-HomeboyE 

29. BAS-Lowness 2 

30. BAS-Metal Heart 

31. BAS-Mini More 

32. BAS-Mod da Wheel 

33. BAS-Mr. Clean 

34. BAS-Mystery 

35. BAS-Plexy 

36. BAS-PuLs A'ting 

37. BAS-Punchy 

38. BAS-QBass2 

39. BAS-Reverend JB 

40. BAS-RoundabouT 

41. BAS-SE Micro 

42. BAS-SayWhat 



43. BAS-Shift 

44. BAS-SignFeld Pop 

45. BAS-Simple3 

46. BAS-SlapMe 

47. BAS-Slappity 

48. BAS-Stomper 

49. BAS-SubCore 

50. BAS-Sub Pummeled 

51. BAS-Sub-Basement 

52. BAS-Sugar Freak 

53. BAS-The Reason 

54. BAS-ThickFretles 

55. BAS-Thickley Dub 

56. BAS-VeloFretless 

57. BAS-WalkinUprite 

58. BAS-WalknUprite2 

59. BAS-Walky Talk 

60. BOW-Erhu w-wah 

61. BOW-Gaozong 

62. BOW-Nervosa 

63. BRS-Alt TptLoops 

64. BRS-Barry Bones 

65. BRS-Brass&Bari 

66. BRS-BreathTBone 

67. BRS-Centurions 

68. BRS-Don'sTrumpet 

69. BRS-DynaTrump 

70. BRS-Horny 

71. BRS-Huge Brass 

72. BRS-MelloD'Trmp 

73. BRS-Milez 

74. BRS-Movie Brass 

75. BRS-MutedTrumpet 

76. BRS-Soft Trumpet 

77. BRS-The Ensemble 

78. BRS-Trumpet ff 

79. BRS-Trmpt&Sect 

80. CMB-Cosmovivor a 

81. CMB-CuicMe 

82. CMB-EastMeetWest 

83. CMB-HiPassSquare 

84. CMB-Org Tool 1 

85. CMB-Org Tool 2 



86. CMB-Shamitone 

87. CMB-Spiritphone 

88. CMB-Vln&Oboe 

89. CMB-Wind Jam 1 

90. CMB-Wind Jam 2 

91. CMB-BabyOcarina 

92. GTR-Carlos 

93. GTR-Cast Teller 

94. GTR-Cast Teller2 

95. GTR-Chuckin 

96. GTR-DarkGut 

97. GTR-Distorter-X 

98. GTR-Distorter-X2 

99. GTR-Distorter-X3 

100. GTR-Distorter-X4 

101. GTR-Dolobroso 

102. GTR-Electric 

103. GTR-Electric 2 

104. GTR-ElectricDis 

105. GTREmTVCrunch 

106. GTR-FallingNylon 

107. GTR-FullNylon 

108. GTR-GenericClean 

109. GTR-Grusty 

110. GTR-Jazzed 

111. GTR-LA Strata 

112. GTR-Looz 12s 

113. GTR-MellowElect 

114. GTR-Metal Head 

115. GTR-Mutant Pick 

116. GTR-Mutant Pick2 

117. GTR-Mutes 

118. GTR-Nrystyl2 

119. GTR-Nylon 

120. GTR-NyloSteel 

121. GTR-Nylon Silk 

122. GTR-Nylonistic 

123. GTR-Spy 

124. GTR-Steel 

125. GTR-SteelReal 

126. GTR-Stolen7 

127. GTR-Stolen7Away 

128. HIT-Brass Hits 2 

129. HIT-Fashion 

130. HIT-MasterBlast 

131. HIT-Organ Hits 2 



Proteus 2500 Operation Manual 295 



Appendix 
Riff Listing 



Riff Listing 



132. KBD-And Voice 176. KBD-Pure Fog 220. KIT-For Real 2 

133. KBD-And Voice2 177. KBD-Pure Roll 2 221. KIT-Hip 01 

134. KBD-B3 X-Wheel 178. KBD-Pure Roll 3 222. KIT-Hip 02 

135. KBD-B3 X-Wheel 2 179. KBD-Rock'in B 223. KIT-Hip 03 

136. KBD-Ballad Tine 180. KBD-RollinDreams 224. KIT-Hip 04 

137. KBD-Bally Yard 181. KBD-Stereo Grand 225. KIT-Hip 05 

138. KBD-Classic EP 182. KBD-StereoGrand2 226. KIT-Hip 06 

139. KBD-Clavl 183. KBD-StereoGrand3 227. KIT-Hip 07 

140. KBD-Clavinetti 1 184. KBD-Suitcase EP 228. KIT-Hip 08 

141. KBD-Clavinetti 2 185. KBD-Supatramp EP 229. KIT-Hip 09 

142. KBD-Comp Keyz 2 186. KBD-TechnoUprite 230. KIT-Hip 10 

143. KBD-Crystal 187. KBD-WheelSpeed B 231. KIT-Hip 11 

144. KBD-DynofunkEP 188. KBD-WideSuitcase 232. KIT-Hip 12 

145. KBD-DynamicGrnd 189. KBD-Yo My Dynos 233. KIT-Hip 13 

146. KBD-DynoPiano 190. KIT-424 234. KIT-Hip 14 

147. KBD-E Grand 191. KIT-Acoustic 1 235. KIT-Hip 15 

148. KBD-EPRoll2 192. KIT-Acoustic 2 236. KIT-Hip 16 

149. KBD-Elecre 2 193. KIT- African 237. KIT-Hip 17 

150. KBD-Elecro7CP80 194. KIT-BMF 238. KIT-Hip 18 

151. KBD-FM2Classc 195. KIT-Bag O Tricks 239. KIT-Hip 19 

152. KBD-Filmscore 196. KIT-Berzerker 240. KIT-Hip 20 

153. KBD-GenBalladEP 197. KIT-Booster 241. KIT-Hip 21 

154. KBD-Gospel Soul 198. KIT-BrazilianGMl 242. KIT-Hip 22 

155. KBD-GrandFM 199. KIT-BrazilianGM2 243. KIT-Hot Swing 

156. KBD-Grand Piano2 200. KIT-BrazilianGM3 244. KIT-Kit 17 

157. KBD-Grande4 201. KIT-Club Vinyl 245. KIT-Kit 18 

158. KBD-GreenEyed 202. KIT-CookUsAHit 2 246. KIT-Kit 19 a 

159. KBD-Hard Comp 1 203. KIT-DearLyBeEmuD 247. KIT-Kit 19 b 

160. KBD-Hard Comp 5 204. KIT-DeepBooty2 248. KIT-Kit 20 

161. KBD-Hard Dyno 205. KIT-DeepBooty3 249. KIT-OnTheTip 

162. KBD-HonTonkeyz 206. KIT-Disengrate 250. KIT-Ritual Drum 

163. KBD-JimmyJazzyB 207. KIT-Drum 303 251. KIT-Salsa ENS 

164. KBD-Klassical 208. KIT-Drum Buzza 252. KIT-Salsa GM1 

165. KBD-Knockkerz 209. KIT-Drum-Bass la 253. KIT-Salsa GM2 

166. KBD-KoolNMelo 210. KIT-Drum-Bass lb 254. KIT-Salsa GM3 

167. KBD-Lovers FM EP 211. KIT-Drum-Bass 2 255. KIT-Salsa GM4 

168. KBD-MedDyno 212. KIT-Drum-Bass 3a 256. KIT-Salsa GM5 

169. KBD-MedEP 213. KIT-Drum-Bass 3b 257. KIT-Salsa GMX 1 

170. KBD-Mellow man 214. KIT-Drum-Bass 4a 258. KIT-Salsa GMX 2 

171. KBD-Melosoul EP 215. KIT-Drum-Bass 4b 259. KIT-Shag 

172. KBD-Miami Grand 216. KIT-Drum-Bass 5 260. KIT-Speedman 

173. KBD-Organomics X 217. KIT-Drum-Bass 6 261. KIT-Swing Hop 3 

174. KBD-PerkyRhodes 218. KIT-Earth 262. KIT-Swing Hop a 

175. KBD-Piano&Strngl 219. KIT-For Real 263. KIT-Swing Hop b 



296 E-MU Systems 



Appendix 
Riff Listing 



Riff Listing 



264. KIT-Tribal House 308. PAD-Exo Pad 2 

265. KIT- World GM 309. PAD-Exotic 3 

266. LED-Apple Eater 310. PAD-Exotic 4 

267. LED-Blue Danube 311. PAD-Exotic 5 

268. LED-Ethereosity 312. PAD-Exo Pad 1 

269. LED-Freakus 313. PAD-Ganic 

270. LED-inBottles 314. PAD-Highway 

271. LED-Post 90's DM 315. PAD-Infants 

272. LED-Q Snapper 316. PAD-Infants2 

273. LED-Quacker 317. PAD-MetalBeats 

274. LED-Sci-FiB 318. PAD-My Hero 

275. LED-Shiner 319. PAD-Pad Life 

276. LED-SoftSlip 320. PAD-Paddy 

277. LED-Weezy Lead 321. PAD-Phat 

278. LED-Worm 322. PAD-Sophia 

279. LED-Worm 2 323. PLK-Celtic Harp 

280. LED-Worm Up 324. PLK-SegDomraMutl 

281. LED-Wormwood 325. PLK-Dulcolin 

282. LED-Zimppler 326. PRC-Acidphone 

283. ORC-Combo 327. PRC-Balifon Ntrl 

284. ORC-Orchestra 328. PRC-BasBuBaliMar 

285. ORG-Blues 329. PRC-Blokba a 

286. ORG-Classical 1 330. PRC-Brazil Drums 

287. ORG-Classical 2 331. PRC-Celtic Perc 

288. ORG-Funk 332. PRC-Claves 

289. ORG-Fusion 333. PRC-Congas 

290. ORG-Gospel 1 334. PRC-Congas 2 

291. ORG-Gospel 2 335. PRC-DmbkMbongo 

292. ORG-Gospel 3 336. PRC-Cymbals 

293. ORG-Jazz 1 337. PRC-HarpFantasy 

294. ORG-Jazz 2 338. PRC-Hats 1 

295. ORG-Latin 1 339. PRC-Kalimba 2 

296. ORG-Latin 2 340. PRC-Limbafon 

297. ORG-Tech 1 341. PRC-Log On 

298. ORG-Tech 2 342. PRC-Marimba 

299. ORG-Variation 1 343. PRC-Metalofon 

300. ORG-Variation 2 344. PRC-Multipizz 

301. ORG-Variation 3 345. PRC-Pandebal 

302. ORG-Variation 4 346. PRC-Plexitone 

303. ORG-Variation 5 347. PRC-Progress a 

304. ORG-Ballad 348. PRC-Shakers 

305. PAD-Airborn 349. PRC-Snare 1 

306. PAD-Exotic 1 350. PRC-Snare 2 

307. PAD-Exotic 2 351. PRC-Steel Drum 



352. PRC-Sweet Mar 

353. PRC-TV Spy Vibes 

354. PRC-Velo Vibes 

355. PRC-Velo Vibes 2 

356. PRC-Xylophone 

357. SFX-MetalScience 

358. SFX-Oh No Its 

359. SFX-P57K-009 

360. STR-AbbeyStrngs 

361. STR-AbbeyStrngs2 

362. STR-Allin a Pizz 

363. STR-AllinaPizz 2 

364. STR-AllinaPizz 3 

365. STR-ArcotremPizz 

366. STR-Dyna-heim 

367. STR-ExtremeStrng 

368. STR-Fiddle 

369. STR-Filmscore 

370. STR-HindooKurdoo 

371 . STR-Japanman 

372. STR-Kult E Vatn 

373. STR-Orchestra 1 

374. STR-Orchestra 2 

375. STR-Pizzicati 

376. STR-SitarTalk 

377. STR-Solo Quartet 

378. STR-StrSection 

379. STR-Strg + Choir 

380. STR-Swoon 

381. STR-Texture 

382. STR-TronStrings 

383. STR-Velo Marcato 

384. STR-Victrola 

385. SYN-Bender 

386. SYN-Brazz 

387. SYN-Ensemblist 

388. SYN-Euro Wave 

389. SYN-Festival 

390. SYN-Hydraine 

391. SYN-ProfitMargin 

392. SYN-Silk OBXsaws 

393. SYN-Sync Trance 

394. SYN-Syntax On2 

395. SYN-Synthall AT 



Proteus 2500 Operation Manual 297 



Appendix 
Riff Listing 



Riff Listing 



396. SYN-ThinTecPulse 

397. SYN-Z&C Leeder 

398. VOX-Ahhs 

399. VOX-Frozen Time 

400. VOX-Lo-Fi Ether 

401. VOX-MauzeWowz 

402. VOX-Mist 

403. VOX-NewAge Oohs 

404. VOX-Odd Boys 

405. VOX-Pop Oohs 

406. VOX-Slo Lunarvox 

407. VOX-Spiritworld 

408. VOX-SynthSing 

409. VOX-Voxicord 

410. WAV-Lowtronics 

411. WAV-M12 

412. WAV-Metal 2 

413. WAV-vs37 

414. WND-A-Sax 

415. WND-AltoSaxo 

416. WND-Amazone 

417. WND-Bottle Blow 

418. WND-Breather 

419. WND-Chamber Ore 

420. WND-Clarinet 



421. WND-Clarinet 2 

422. WND-Eurasion 

423. WND-Ethnic Reed 

424. WND-Fieldberries 

425. WND-Flute 

426. WND-FluteScape 

427. WND-Harmonica 

428. WND-Nuages 

429. WND-Oboe 

430. WND-Ocarina a 

431. WND-Ocarina b 

432. WND-Pan Flute 

433. WND-Pastoral 

434. WND-Real Flute 

435. WND-Real Flute 2 

436. WND-Shenaidelic 

437. WND-Synth Flute 

438. WND-T-Sax 

439. WND-Virtuaccord 

440. WND-Wind Fingers 

441. BTS-BigPimpin 

442. BTS-BiteZapper 

443. BTS-Bleak 

444. BTS-ChunkyButt 

445. BTS-CuzIWasStond 



446. BTS-Detourant 

447. BTS-Electro 

448. BTS-FilterPhaser 

449. BTS-Foggy 

450. BTS-FreakShifter 

451. BTS-InnaCity 

452. BTS-JungleClub 

453. BTS-Lowness 

454. BTS-MAD Donna 

455. BTS-Maestro 

456. BTS-Magnetic 

457. BTS-Moderno 

458. BTS-NuMetal 

459. BTS-Outside 

460. BTS-PhatterStill 

461. BTS-RadRacer 

462. BTS-RascllyRappr 

463. BTS-Ripped 

464. BTS-Rubbish 

465. BTS-Smasher 

466. BTS-Stringy 

467. BTS-WhatNow 

468. XTR-JunglyBeat 



298 E-MU Systems 



Appendix 
Instrument Listing 



Instrument 
Listing 



This section lists the raw instruments in the Proteus 2500 ROM set. 
Instruments consist of either multisamples or single samples. 



0. None 

1. pno:Stereo Grand 

2. pno:Grand Piano2 

3. pno:Techno Piano 

4. epo:Med Rhodes 

5. epo:Hard Rhodes 

6. epo:DynoRhodesMd 

7. epo:DynoRhodesHd 

8. epo:Hard Tine 

9. epo:WurlitzerSft 

10. epo:Wurlitzer Hd 

11. epo:FM El Piano 

12. epo:Tine EP 

13. epo:PrettyEP 

14. epo:Classic EP 

15. epo:FM EP 1 

16. epo:FMEP2 

17. epo:Clavinet 1 

18. epo:Clavinet 2 

19. epo:EP Roll 1 

20. epo:EPRoll2 

21. epo:EPRoll3 

22. epo:EP Fog 

23. org:B3DistLowSlo 

24. org:B3 Dist Fast 

25. org:B3 Hi Slow 

26. org:B3 Hi Fast 

27. org:B3 Perc 3rd 

28. org:B30rganWavel 

29. org:B30rganWave2 

30. org:Gritty B Wav 

31. org:Farfisa 1 

32. org:Farfisa 2 

33. org:Farfisa 3 

34. org:Vox 1 

35. org:Vox 2 

36. org:Pipe Organ 

37. org:Drawbar 

38. org:Perc Organ 

39. org:Day 

40. org:Disco 

41. org:DX Organ 



42. org:JX Organ 

43. org:Tone Organ 

44. org:Simple Organ 

45. org:Org Lite 

46. org:Nod 

47. org:Full Organ 

48. org:Synth Organ 

49. org:Breathy 

50. org:Dance 

51. org:Synth Cheeze 

52. org:Oddd Organ 

53. sub:Bass Hum 

54. sub:Below Sub 

55. sub:Super Sub 

56. sub:SE Sub 1 

57. sub:SESub2 

58. sub:SESub3 

59. sub:SESub4 

60. sub:SESub5 

61. sub:SESub6 

62. sub:SE Sub 7 

63. sub:Subtle Bass 

64. sub:Moog 1 

65. sub:Moog 2 

66. sub:Q Attack 

67. sub:Juno 

68. sub:Complex 

69. sub:Full Octave 

70. sub:Deep Pocket 

71. sub:JP4 Bass 

72. sub:Bass Hit 

73. bas:Acid 

74. bas:TB 1 

75. bas:TB2 

76. bas:TB3 

77. bas:TB4 

78. bas:Saw Sync 

79. bas:Big Sync 

80. bas:Power Q 

81. bas:Buzzed 

82. bas:SE 1 

83. bas:SE2 



84. bas:Basss ic 

85. bas:Stereo VP1 1 

86. bas:VPl 2 

87. bas:FM 

88. bas:DB 

89. bas:Memory Moog 

90. bas:Moog Tri 

91. bas:Moog Basic 

92. bas:Mini 1 

93. bas:Mini 2 

94. bas:Mini 3 

95. bas:Mini 4 

96. bas:Micro Moog 

97. bas:Not So Mini 

98. bas:Sawz 

99. bas:Lowness 

100. bas:Ice 

101. bas:Analow 

102. bas:Fat Sunbass 

103. bas:Analogic 

104. bas:QBass 1 

105. bas:QBass2 

106. bas:QBass3 

107. bas:Planet Bass 

108. bas:2600 

109. bas:Synth 1 

110. bas:Synth2 

111. bas:Synth3 

112. bas:Synth 4 

113. bas:Synth 5 

114. bas:Synth 6 

115. bas:Synth 7 

116. bas:Synth 8 

117. bas:Synth9 

118. bas:Synth 10 

119. bas:CZ101 

120. bas:PPG Hybrid 

121. bas:Ultimate 1 

122. bas:Ultimate 2 

123. bas:DB9 1 

124. bas:DB9 2 

125. bas:Phlappy 



Proteus 2500 Operation Manual 299 



Appendix 
Instrument Listing 



Instrument Listing 



126. bas: 

127. bas; 

128. bas: 

129. bas: 

130. bas; 

131. bas; 

132. bas; 

133. bas: 

134. bas: 

135. bas: 

136. bas: 

137. bas: 

138. bas: 

139. bas: 

140. bas: 

141. bas; 

142. bas: 

143. bas; 

144. bas: 

145. bas: 

146. bas: 

147. bas: 

148. bas: 

149. bas: 

150. bas: 

151. bas: 

152. bas; 

153. bas; 

154. bas: 

155. bas: 

156. bas: 

157. bas: 

158. bas: 

159. bas: 

160. bas: 

161. bas: 

162. bas: 

163. bas; 

164. bas: 

165. bas; 

166. bas: 

167. bas; 

168. bas: 

169. bas: 



Pocket 

Sonics 

Perco 

Spitt 

Tapp 

DX 1 

DX2 

DX3 

Finger 1 

Finger 2 

Picked 

Slap 1 

Slap 2 

Slap 3 

Slap 4 

Slap 5 

Pop 

Fretless 1 

Fretless 2 

Fretless 3 

Fretless 4 

Fretless 5 

Fretless 6 

EP 1 

EP2 

EP3 

Home 1 

Home 2 

Street 

Pure 

Fing&Harms 1 

Fing&Harms 2 

All Purpose 

Standard 

Gruzzy Pop 

Pop Slide 1 

Pop Slide 2 

Pop Slide 3 

Pop Slide 4 

Organ Bass 1 

Organ Bass 2 

Acoustic 

Harmonics 

Upright 1 



170. bas:Upright 2 

171. gtrrNylon 

172. gtrrSteel 

173. gtrrjazz 

174. gtrrElectric 1 

175. gtrrElectric 2 

176. gtr:El Mute 1 

177. gtr:ElMute2 

178. gtr:Mutes 

179. gtr:ElectricDis 

180. gtrrPower 1 

181. gtrrPower 2 

182. gtrrPower Hit 

183. gtrrSynthAxe 

184. gtr:Gtr Hi Chuck 

185. gtnGtr Up Strk 

186. gtnGtr Scratch 

1 87. gtrrMuted String 

1 88. gtr:Klean Chuck 

1 89. gtr:J angle 

190. gtrrRiffl 

191. gtr:Riff2 

192. gtr:Riff3 

193. gtrrFunkyHit 

1 94. gtr:Another Hit 

195. gtrrjazz Riff 1 

196. gtrrjazz Riff 2 

197. gtnjazz Riff 3 

198. gtrrSlide Riff 

199. gtrrPop Slide 

200. gtrrPop 

201. gtr: Chord Chuck 

202. gtrrSlide 

203. gtrrSad Guitar 

204. gtrrWawa 1 

205. gtrrWawa 2 

206. gtrrWawa 3 

207. gtrrWawa 4 

208. gtrrWawa 5 

209. gtrrWawa 6 

210. gtrrHeavyHit 

21 1 . gtrrHeavy Dive 

212. strrSolo Quartet 

213. strrSection 



214. strrPizzicato 

215. strrTron 

216. str: Analog 

217. strrMatrix Synth 

218. strrDigital 

219. strrSham Wave 

220. strrKoto 

221. strrSitar 

222. brsrSoft Trumpet 

223. brsrHard Trumpet 

224. brsrMuteTrumpetl 

225. brs:MuteTrumpet2 

226. brsrTrombone 

227. brsrTuba 

228. brsrTrumpet FX 1 

229. brsrTrumpet FX 2 

230. brsrTrumpet FX 3 

231. brsrTrumpet FX 4 

232. brsrTrumpet FX 5 

233. brsrTrumpet FX 6 

234. brsrTrumpet FX 7 

235. brsrAlt TptLoops 

236. brsrEnsemble 

237. brsrSection 

238. brsrBrass Hits 1 

239. brsrBrass Hits 2 

240. brsrClassicBrass 

241. brsrMoog 

242. brsrProphet 5 

243. brs:5th Wave 

244. wndrOcarina 

245. wndrPan Flute 

246. wndrFlute 

247. wndrSynth Flute 

248. wndrClarinet 

249. wndrOboe 

250. wndrEnglish Horn 

251. wndrSoprano Sax 

252. wndrAlto Sax 

253. wndrTenor Sax 

254. wndrSax Wave 

255. wndrBari Sax 1 

256. wndrBari Sax 2 

257. wndrSax Riff 



300 E-MU Systems 



Appendix 
Instrument Listing 



Instrument Listing 



258. 


wnd:Sax FX 1 


302. 


wav:Moog Lead 


346. 


wav: Worm Lead 3 


259. 


wnd:Sax FX 2 


303. 


wav:Fretless 


347. 


wav: Worm Lead 4 


260. 


wnd:Sax FX 3 


304. 


wav:Magic 


348. 


wav: Worm Lead 5 


261. 


wnd:Bottle Blow 


305. 


wav:ES Rag 


349. 


wav: Worm Lead 6 


262. 


wnd:Shenai 


306. 


wav:Chime 


350. 


wav:Sinusoid 


263. 


wnd:Harmonica 


307. 


wav: Pure H20 


351. 


wav: Sine Wave 2 


264. 


vox:Pop Oohs 


308. 


wav:Log Hit 


352. 


wav: Sine Squared 


265. 


vox:Pop Aahs 


309. 


wav: Pluck Tone 


353. 


wav: Sine Inv Sqr 


266. 


vox:Soul Oohs 


310. 


wav:Hollow Deep 


354. 


wav: Sine Cubed 


267. 


vox:Breathy 1 


311. 


wav:Bell Synth 


355. 


wav: SinelnvCubed 


268. 


vox:Breathy 2 


312. 


wav:Syn Tone 


356. 


wav:Triangle 


269. 


vox: Very Breathy 


313. 


wav: Perc Axe Syn 


357. 


wav: Square 


270. 


vox:VS Wave 


314. 


wav: Whine 


358. 


wav: Sawtooth 1 


271. 


vox: Choir Wave 


315. 


wav:CZ101 Digi 


359. 


wav: Sawtooth 2 


272. 


voxjax Breath 


316. 


wav:CZ Lead 


360. 


wav: Pulse Plus 


273. 


vox: Vox Synth 


317. 


wav:CZ Echo Lead 


361. 


wav:Pulse 75% 


274. 


vox:Orch Vox 


318. 


wav: Wild Synth 


362. 


wav: Pulse 90% 


275. 


vox:CMI Breath 


319. 


wav:Spacey Keys 


363. 


wav:Pulse 94% 


276. 


vox:Tarzana 


320. 


wav: Dig Buzz Syn 


364. 


wav: Pulse 96% 


277. 


vox:Gothic 


321. 


wav:Rast Keys 


365. 


wav:Pulse 98% 


278. 


vox:Oow 


322. 


wav:Narrow Synth 


366. 


wav: FourOctaves 


279. 


vox:Comon Vox 


323. 


wav: Fat Attack 


367. 


wav:Low Odds 


280. 


vox:Odd Vox 


324. 


wav: Synthetic 


368. 


wav: Low Evens 


281. 


vox:Mmm Hmm 


325. 


wav: Overtone Syn 


369. 


syn:Saw Stack 


282. 


vox:Ah Hah 


326. 


wav: Buzz Saw Syn 


370. 


syn:Moog 55 


283. 


wav:PWM 


327. 


wav:Blipper 


371. 


syn:Buzz Synth 


284. 


wav:Eraser 


328. 


wav: Full Synth 


372. 


syn:Bender 


285. 


wav:M12 Sync 


329. 


wav:Bass Synth 


373. 


syn:Soft Synth 


286. 


wav: Stereo Synth 


330. 


wav:Mini Lead 


374. 


syn:Hi String 


287. 


wav: Feedback Wave 


331. 


wav:M12 Lead 


375. 


syn:OBX Saws 


288. 


wav:MetalAttack 


332. 


wav: Sync 1 


376. 


syn:Big Planet 


289. 


wav:Arp 1 


333. 


wav: Sync 2 


377. 


syn:Saw Sweep 


290. 


wav:Arp 2 


334. 


wav: Sync 3 


378. 


wavjuno Pulse 


291. 


wav:Arp 3 


335. 


wav: Sync 4 


379. 


syn:CZ Synstring 


292. 


wav:ARP Lead 


336. 


wav: Sync 5 


380. 


syn:SynEnsemble 


293. 


wav:Metal 1 


337. 


wav: Sync 6 


381. 


syn:Rezzy Wave 


294. 


wav:Metal 2 


338. 


wav:Pop Square 


382. 


syn:Heavy 


295. 


wav:Metal 3 


339. 


wavjuno Square 


383. 


syn:Rez Synth 


296. 


wav:PPG 


340. 


wav: Square Attack 


384. 


syn:Hi Oct Synth 


297. 


wav:VS Vox 


341. 


wav: Square Lead 


385. 


syn:Mood Strings 


298. 


wav:VS37 


342. 


wav:SquareChorus 


386. 


syn:Brazz 


299. 


wav:VS48 


343. 


wavjuno Pulse 


387. 


syn:Synth Brass 


300. 


wav:Rezzy 


344. 


wav: Worm Lead 1 


388. 


syn:P5 Brass 


301. 


wav:Glass Perc 


345. 


wav: Worm Lead 2 


389. 


pad:JP6 Pad 



Proteus 2500 Operation Manual 301 



Appendix 
Instrument Listing 



Instrument Listing 



390. pad:Dreamy 

391. pad:Phat Pad 

392. pad:Synth Pad 

393. pad:Pad Life 

394. pad:Classic 

395. pad:Dream Pad 

396. pad:Paddy 

397. pad:Dance Chord 

398. pad:Zoom 

399. pad:Keyngdom 

400. pad:Under Pad FM 

401 . pad:Xylo Pad 

402. hit:Organ Hits 1 

403. hitOrgan Hits 2 

404. hit:Basses 

405. hit:Synth Basses 

406. hitGuitars 

407. hit:String Hits 

408. hitBrass Hits 1 

409. hit:Brass Hits 2 

410. hit: Vox Hits 1 

411. hit:VoxHits2 

412. hit:Dance Hits 1 

413. hitDance Hits 2 

414. hitOrgan Hit 1 

415. hitOrgan Hit 2 

416. hitOrgan Hit 3 

417. hitOrgan Hit 4 

418. hitOrgan Hit 5 

419. hitOrgan Hit 6 

420. hitBass Stab 1 

421 . hitBass Stab 2 

422. hitBass Slide 

423. hit:OrchC3 

424. hitUnisonString 

425. hitUnison Brass 

426. hitBrass Hit 1 

427. hitBrass Hit 2 

428. hitBrass Hit 3 

429. hitBrass Hit 4 

430. hitBrass Hit 5 

431. hitBrass Hit 6 

432. hitBrass Hit 7 

433. hitBrass Hit 8 



434. hit 

435. hit 

436. hit 

437. hit 

438. hit 

439. hit 

440. hit 

441. hit 

442. hit 

443. hit 

444. hit 

445. hit 

446. hit 

447. hit 

448. hit 

449. hit 

450. hit 

451. hit 

452. hit 

453. hit 

454. hit 

455. hit 

456. hit 

457. hit 

458. hit 

459. hit 

460. hit 

461. hit 

462. hit 

463. hit 

464. hit 

465. hit 

466. hit 

467. hit 

468. hit 

469. hit 

470. hit 

471. hit 

472. hit 

473. hit 

474. hit 

475. hit 

476. hit 

477. hit 



:Brass Hit 9 
:Brass Hit 10 
:Brass Hit 11 
:Brass Hit 12 
:Brass Hit 13 
:Brass Hit 14 
:Brass Hit 15 
:Brass Hit 16 
:Brass Hit 17 
:Brass Hit 18 
:Brass Hit 19 
:Brass Hit 20 
:Boink 
:Fat Low Syn 
:Hit On It 
Jazz Short 
:Blamp Hit 
:Blipp 
:Buzz Blip 
:Game Hit 
:Diss Hit 
:Bell Hit 
:Klang Hit 
:Metal Hit 
:Slinky Q Hit 
:Space Whip 
:Short Quack 
: Quack Ahhh 
:Bowser Bark 
:Chiffin 
:Ripped 
:Drum Stab 
:Hip Hop Hit 
:Drum Stall 
:Dance Hit 1 
:Dance Hit 2 
:Dance Hit 3 
:Dance Hit 4 
:Dance Hit 5 
:Dance Hit 6 
:Dance Hit 7 
:Dance Hit 8 
:Dance Hit 9 
:Dance Hit 10 



478. hit; 

479. hit; 

480. hit; 

481. hit; 

482. hit; 

483. hit; 

484. hit; 

485. hit; 

486. hit; 

487. hit; 

488. hit; 

489. hit; 

490. hit: 

491. hit; 

492. hit; 

493. hit; 

494. hit; 

495. sfx; 

496. sfx; 

497. sfx; 

498. sfx; 

499. sfx; 

500. sfx; 

501. sfx; 

502. sfx; 

503. sfx: 

504. sfx: 

505. sfx: 

506. sfx: 

507. sfx: 

508. sfx: 

509. sfx: 

510. sfx: 

511. sfx: 

512. sfx: 

513. sfx: 

514. sfx: 

515. sfx: 

516. sfx: 

517. sfx: 

518. sfx: 

519. sfx: 

520. sfx: 

521. sfx: 



Dance Hit 11 
Dance Hit 12 
Dance Hit 13 
Dance Hit 14 
Dance Hit 15 
Dance Hit 16 
Dance Hit 17 
Dance Hit 18 
Dance Hit 19 
Dance Hit 20 
Dance Hit 21 
Dance Hit 22 
Dance Hit 23 
Dance Hit 24 
Dance Hit 25 
Dance Hit 26 
Dance Hit 27 
QSnap 
Bass Scrape 
Bass Thud 
Gtr Scrape 1 
Gtr Scrape 2 
Guitar Pick 
GtrBodyKnock 
StringScrape 
Tpt Breath 
Alto Breath 
PnoSndBoard 
Loop 1 
Loop 2 
Loop 3 
Loop 4 
Loop 5 
Loop 6 
Loop 7 
Loop 8 
Crickets 
Crowd 

Music Crowd 
Lawn Mower 
Riff Trip 
Cyber Pan 
Groove Thing 
Science 



302 E-MU Systems 



Appendix 
Instrument Listing 



Instrument Listing 



522. sfx:Sci Fi 

523. sfx:Synth Siren 

524. sfx: Space Wiggle 

525. sfx:Sqweal Rev 

526. nse:White 1 

527. nse:No Pitch 

528. nse:Pink 1 

529. nse:Pink 2 

530. nse:Spectrum 1 

531. nse:Spectrum 2 

532. nse:Spectrum 3 

533. nse:Spectrum 4 

534. nse:Air 

535. nse:High Pass 

536. nse:Excited HP 

537. nse:IP Wave 

538. nse:Metal Noise 

539. nse:Vinyl 1 

540. nse:Vinyl 2 

541 . nse: Vinyl 3 

542. nse:Vinyl 4 

543. nse:Vinyl 1 NTF 

544. nse:Vinyl 2 NTF 

545. nse:Vinyl 3 NTF 

546. nse:Vinyl 4 NTF 

547. nse:CMI Hot Air 

548. nse:L9000 Noise 

549. scr:Scratches 1 

550. scr:Scratches 2 

551 . scr: Vinyl Set 

552. scnStalled 

553. scr: Wind Down 1 

554. scr: Wind Down 2 

555. scr:Draggit 

556. scr:MC Scratch 

557. scr: Fun Scratch 

558. scr:SSSSystem 1 

559. scr:SSSSystem 2 

560. scr:Scratch Here 

561. scr: Scratch On I 

562. scr:Scratch Diss 

563. scr:Bow Wow 

564. scr:Diva Scratch 

565. scr:OrganBlipper 



566. scr:Classic Tape 

567. scr:Scratch Out! 

568. scr:Punch It 

569. scr:Ork Scratch 

570. scr:Tape Stop 

571. scr:Zip Scratch 

572. scr:Tape Pull 

573. scrWild Scratch 

574. scr:Up Scratch 

575. scr:Scratch Away 

576. scr:Frenzy 

577. scr:KickScratchl 

578. scr:KickScratch2 

579. scr:SnareScratch 

580. scr:Tite Scratch 

581. scr:Scratch Up 

582. scr:Barker 

583. scr:Plunger 

584. scr:Skipper 

585. scr:Fast Scratch 

586. prcSoft Vibes 

587. prcHard Vibes 

588. prc:Xylophone 

589. prcMarimba 

590. prc:Kalimba 

591. prc:Plexitone 

592. prc:Orchestral 

593. prc:Miscellany 

594. prc:FM Log Drum 

595. prc:SynDrum Wave 

596. prc:X-ite Tick 

597. prcKicks 1 

598. prc:Kicks 2 

599. prcSnares 1 

600. prc:Snares 2 

601. prcToms 1 

602. prcToms 2 

603. prc:Timbales 1 

604. prcTimbales 2 

605. prc:Congas etc 1 

606. prcCongas etc 2 

607. prcHats 1 

608. prc:Hats 2 

609. prc:Cymbals 1 



610. prcCymbals 2 

611. prc:Shakers 

612. prcMaracas 

613. prc:Bells 1 

614. prcBells 2 

615. prc:Blocks 1 

616. prc:Blocks 2 

617. prcTams 1 

618. prc:Tams 2 

619. prcClaps 1 

620. prc:Claps 2 

621. prcSnaps 

622. prc:Claves 

623. prcVibraslap 

624. prc:Guiro Roll 

625. prc:Cowbells 

626. prc:Agogos 

627. pre: Carillon 

628. prcMisc Perc 1 

629. prcMisc Perc 2 

630. kit: Acoustic 1&2 

631. kit:Acoustic 3&4 

632. kitDance Set 

633. kit:Dance Perc 

634. kit:Kit 1 

635. kitKit 2 

636. kit:Kit 3 

637. kitKit 4 

638. kitKit 5 

639. kitKit 6 

640. kitKit 7 

641. kitKit 8 

642. kitKit 9 

643. kitKit 10 

644. kitKit 11 

645. kitKit 12 

646. kitKit 13 

647. kitKit 14 

648. kitKit 15 

649. kitKit 16 

650. kitGM Dance 

651. kitSwing Hop 

652. kitSwing Hop 2 

653. kitSwing Hop 3 



Proteus 2500 Operation Manual 303 



Appendix 
Instrument Listing 



Instrument Listing 



654. pre: 

655. pre: 

656. pre: 

657. pre: 

658. pre: 

659. pre: 

660. pre: 

661. pre: 

662. pre: 

663. pre: 

664. pre: 

665. pre: 

666. pre: 

667. pre: 

668. pre: 

669. pre: 

670. pre: 

671. pre: 

672. pre: 

673. pre: 

674. pre: 

675. pre: 

676. pre: 

677. pre: 

678. pre: 

679. pre: 

680. pre: 

681. pre: 

682. pre: 

683. pre: 

684. pre: 

685. pre: 

686. pre: 

687. pre: 

688. pre: 

689. pre: 

690. pre: 

691 . pre: 

692. pre: 

693. pre: 

694. pre: 

695. pre: 

696. pre: 

697. pre: 



Kickl 
Kick 2 
Kick 3 
Kick 4 
Kick 5 
Kick 6 
Kick 7 
Kick 8 
Kick 9 
Kick 10 
Kick 11 
Kick 12 
Kick 13 
Kick 14 
Kick 15 
Kick 16 
Kick 17 
Kick 18 
Kick 19 
Kick 20 
Kick 21 
Kick 22 
Kick 23 
Kick 24 
Kick 25 
Kick 26 
Kick 27 
Kick 28 
Kick 29 
Kick 30 
Kick 31 
Kick 32 
Kick 33 
Kick 34 
Kick 35 
Kick 36 
Kick 37 
Kick 38 
Kick 39 
Kick 40 
Kick 41 
Kick 42 
Kick 43 
Kick 44 



698. pre 

699. pre 

700. pre 

701. pre 

702. pre 

703. pre 

704. pre 

705. pre 

706. pre 

707. pre 

708. pre 

709. pre 

710. pre 

711. pre 

712. pre: 

713. pre 

714. pre: 

715. pre 

716. pre: 

717. pre 

718. pre 

719. pre 

720. pre 

721. pre 

722. pre 

723. pre: 

724. pre 

725. pre 

726. pre 

727. pre 

728. pre 

729. pre: 

730. pre 

731. pre 

732. pre: 

733. pre 

734. pre: 

735. pre 

736. pre 

737. pre 

738. pre 

739. pre 

740. pre 

741. pre 



Kick 45 
Kick 46 
Kick 47 
Kick 48 
Kick 49 
Kick 50 
Kick 51 
Kick 52 
Kick 53 
Kick 54 
Kick 55 
Kick 56 
Kick 57 
Kick 58 
Kick 59 
Kick 60 
Kick 61 
Kick 62 
Kick 63 
Kick 64 
Kick 65 
Kick 66 
Kick 67 
Kick 68 
Kick 69 
Kick 70 
Kick 71 
Snare 1 
Snare 2 
Snare 3 
Snare 4 
Snare 5 
Snare 6 
Snare 7 
Snare 8 
Snare 9 
Snare 10 
Snare 11 
Snare 12 
Snare 13 
Snare 14 
Snare 15 
Snare 16 
Snare 17 



742. pre: 

743. pre: 

744. pre: 

745. pre: 

746. pre: 

747. pre: 

748. pre: 

749. pre: 

750. pre: 

751. pre: 

752. pre: 

753. pre: 

754. pre: 

755. pre: 

756. pre: 

757. pre: 

758. pre: 

759. pre: 

760. pre: 

761. pre: 

762. pre: 

763. pre: 

764. pre: 

765. pre: 

766. pre: 

767. pre: 

768. pre: 

769. pre: 

770. pre: 

771. pre: 

772. pre: 

773. pre: 

774. pre: 

775. pre: 

776. pre: 

777. pre: 

778. pre: 

779. pre: 

780. pre: 

781. pre: 

782. pre: 

783. pre: 

784. pre: 

785. pre: 



Snare 18 
Snare 19 
Snare 20 
Snare 21 
Snare 22 
Snare 23 
Snare 24 
Snare 25 
Snare 26 
Snare 27 
Snare 28 
Snare 29 
Snare 30 
Snare 31 
Snare 32 
Snare 33 
Snare 34 
Snare 35 
Snare 36 
Snare 37 
Snare 38 
Snare 39 
Snare 40 
Snare 41 
Snare 42 
Snare 43 
Snare 44 
Snare 45 
Snare 46 
Snare 47 
Snare 48 
Snare 49 
Snare 50 
Snare 51 
Snare 52 
Snare 53 
Snare 54 
Snare 55 
Snare 56 
Snare 57 
Snare 58 
Snare 59 
Snare 60 
Snare 61 



304 E-MU Systems 



Appendix 
Instrument Listing 



Instrument Listing 



786. pre 

787. pre 

788. pre 

789. pre 

790. pre 

791 . pre 

792. pre 

793. pre 

794. pre 

795. pre 

796. pre 

797. pre 

798. pre 

799. pre 

800. pre 

801 . pre 

802. pre 

803. pre 

804. pre 

805. pre 

806. pre 

807. pre 

808. pre 

809. pre 

810. pre 

811. pre 

812. pre 

813. pre 

814. pre 

815. pre 

816. pre 

817. pre 

818. pre 

819. pre 

820. pre 

821 . pre 

822. pre 

823. pre 
824. 
825. 
826. 
827. 
828. 
829. 



pre 
pre 
pre 
pre 
pre 
pre 



Snare 62 
Snare 63 
Snare 64 
Snare 65 
Snare 66 
Snare 67 
Snare 68 
Snare 69 
Snare 70 
Snare 71 
Snare 72 
Snare 73 
Snare 74 
Snare 75 
Snare 76 
Snare 77 
Snare 78 
Snare 79 
Snare 80 
Snare 81 
Snare 82 
Snare 83 
Snare 84 
Snare 85 
Snare 86 
Snare 87 
Snare 88 
Snare 89 
Snare 90 
Snare 91 
Snare 92 
Snare 93 
Snare 94 
Snare 95 
Snare 96 
Snare 97 
Snare 98 
Snare 99 
Snare 100 
Snare 101 
Snare 102 
Snare 103 
Snare 104 
Snare 105 



830. pre 

831. pre 

832. pre 

833. pre 

834. pre 

835. pre 

836. pre 

837. pre 

838. pre 

839. pre 

840. pre 

841. pre 

842. pre 

843. pre 

844. pre 

845. pre 

846. pre 

847. pre 

848. pre 

849. pre 

850. pre 

851. pre 

852. pre 

853. pre 

854. pre 

855. pre 

856. pre 

857. pre 

858. pre 

859. pre 

860. pre 

861. pre 

862. pre 

863. pre 

864. pre 

865. pre 

866. pre 

867. pre 

868. pre 

869. pre 

870. pre 

871. pre 

872. pre 

873. pre 



:Snare 106 
:Snare 107 
:Snare 108 
;Snare 109 
:Snare 110 
:Snare 111 
:Snare 112 
;Snare 113 
Snare 114 
;Snare 115 
:Snare 116 
;Snare 117 
:Snare 118 
:Snare 119 
:Snare 120 
:Snare 121 
:Snare 122 
:Snare 123 
:Snare 124 
:Snare 125 
;Snare 126 
:Snare 127 
;Snare 128 
:Snare 129 
;Snare 130 
;Snare 131 
:Timbale 1 
:Timbale 2 
:Timbale 3 
:Timbale 4 
:Timbale 5 
:Timbale 6 
:Tom 1 
:Tom2 
Tom 3 
:Tom4 
Tom 5 
:Tom 6 
Tom 7 
Tom 8 
Tom 9 
Tom 10 
Tom 11 
Tom 12 



874. pre: 

875. pre: 

876. pre: 

877. pre; 

878. pre: 

879. pre: 

880. pre: 

881. pre: 

882. pre: 

883. pre: 

884. pre: 

885. pre: 

886. pre: 

887. pre; 

888. pre: 

889. pre: 

890. pre: 

891. pre; 

892. pre: 

893. pre: 

894. pre: 

895. pre: 

896. pre: 

897. pre: 

898. pre: 

899. pre: 

900. pre: 

901. pre; 

902. pre: 

903. pre: 

904. pre: 

905. pre: 

906. pre: 

907. pre: 

908. pre: 

909. pre: 

910. pre: 

911. pre; 

912. pre: 

913. pre: 

914. pre: 

915. pre: 

916. pre: 

917. pre: 



Tom 13 
Tom 14 
Tom 15 
Tom 16 
Tom 17 
Tom 18 
Tom 19 
Tom 20 
Tom 21 
Tom 22 
Tom 23 
Tom 24 
Tom 25 
Tom 26 
Tom 27 
Tom 28 
Tom 29 
Tom 30 
Tom 31 
Conga 1 
Conga 2 
Conga 3 
Conga 4 
Conga 5 
Conga 6 
Conga 7 
Conga 8 
Conga 9 
Conga 10 
Conga 11 
Conga 12 
Conga 13 
Conga 14 
Conga 15 
Conga 16 
Conga 17 
Conga 18 
Conga 19 
Conga 20 
Conga 21 
Hat 1 
Hat 2 
Hat 3 
Hat 4 



Proteus 2500 Operation Manual 305 



Appendix 
Instrument Listing 



Instrument Listing 



918. 


prc:Hat 5 


962. 


preHat 49 


1006 


preHat 93 


919. 


preHat 6 


963. 


preHat 50 


1007 


preHat 94 


920. 


preHat 7 


964. 


preHat 51 


1008 


preHat 95 


921. 


preHat 8 


965. 


preHat 52 


1009 


pre: Cymbal 1 


922. 


preHat 9 


966. 


preHat 53 


1010 


pre: Cymbal 2 


923. 


preHat 10 


967. 


preHat 54 


1011 


pre: Cymbal 3 


924. 


preHat 11 


968. 


preHat 55 


1012 


pre: Cymbal 4 


925. 


preHat 12 


969. 


preHat 56 


1013 


pre: Cymbal 5 


926. 


preHat 13 


970. 


preHat 57 


1014 


pre: Cymbal 6 


927. 


preHat 14 


971. 


preHat 58 


1015 


pre: Cymbal 7 


928. 


preHat 15 


972. 


preHat 59 


1016 


pre: Cymbal 8 


929. 


preHat 16 


973. 


preHat 60 


1017 


pre: Cymbal 9 


930. 


preHat 17 


974. 


preHat 61 


1018 


pre: Cymbal 10 


931. 


preHat 18 


975. 


preHat 62 


1019 


pre: Cymbal 11 


932. 


preHat 19 


976. 


preHat 63 


1020 


pre: Cymbal 12 


933. 


prcHat 20 


977. 


preHat 64 


1021 


pre: Cymbal 13 


934. 


preHat 21 


978. 


preHat 65 


1022 


prc:Cymbal 14 


935. 


preHat 22 


979. 


preHat 66 


1023 


pre: Cymbal 15 


936. 


preHat 23 


980. 


preHat 67 


1024 


prc:Cymbal 16 


937. 


preHat 24 


981. 


preHat 68 


1025 


pre: Cymbal 17 


938. 


preHat 25 


982. 


preHat 69 


1026 


pre: Cymbal 19 


939. 


preHat 26 


983. 


preHat 70 


1027 


prc:Cymbal 20 


940. 


preHat 27 


984. 


preHat 71 


1028 


pre: Cymbal 21 


941. 


preHat 28 


985. 


preHat 72 


1029 


pre: Cymbal 22 


942. 


preHat 29 


986. 


preHat 73 


1030 


pre: Cymbal 23 


943. 


preHat 30 


987. 


preHat 74 


1031 


prc:Cymbal 24 


944. 


preHat 31 


988. 


preHat 75 


1032 


pre: Cymbal 25 


945. 


preHat 32 


989. 


preHat 76 


1033 


pre: Cymbal 26 


946. 


preHat 33 


990. 


preHat 77 


1034 


pre: Cymbal 27 


947. 


preHat 34 


991. 


preHat 78 


1035 


prc:Cymbal 28 


948. 


preHat 35 


992. 


preHat 79 


1036 


pre: Cymbal 29 


949. 


preHat 36 


993. 


preHat 80 


1037 


prc:Shaker 1 


950. 


preHat 37 


994. 


preHat 81 


1038 


prc:Shaker 2 


951. 


preHat 38 


995. 


preHat 82 


1039 


preShaker 3 


952. 


preHat 39 


996. 


preHat 83 


1040 


preShaker 4 


953. 


preHat 40 


997. 


preHat 84 


1041 


preShaker 5 


954. 


preHat 41 


998. 


preHat 85 


1042 


prc:Shaker 6 


955. 


preHat 42 


999. 


preHat 86 


1043 


prc:Shaker 7 


956. 


preHat 43 


1000. 


preHat 87 


1044 


preShaker 8 


957. 


preHat 44 


1001. 


preHat 88 


1045 


prc:Shaker 9 


958. 


preHat 45 


1002. 


preHat 89 


1046 


prc:Shaker 10 


959. 


preHat 46 


1003. 


preHat 90 


1047 


preShaker 11 


960. 


preHat 47 


1004. 


preHat 91 


1048 


prc:Shaker 12 


961. 


preHat 48 


1005. 


preHat 92 


1049 


prc:Shaker 13 



306 E-MU Systems 



Appendix 
Instrument Listing 



Instrument Listing 



1050. 
1051. 
1052. 
1053. 
1054. 
1055. 
1056. 
1057. 
1058. 
1059. 
1060. 
1061. 
1062. 
1063. 
1064. 
1065. 
1066. 
1067. 
1068. 
1069. 
1070. 
1071. 
1072. 
1073. 
1074. 
1075. 
1076. 
1077. 
1078. 
1079. 
1080. 
1081. 
1082. 
1083. 
1084. 
1085. 
1086. 
1087. 
1088. 
1089. 
1090. 
1091. 



preShaker 14 
prc:Shaker 15 
preShaker 16 
preShaker 17 
preShaker 18 
preShaker 19 
preShaker 20 
preShaker 21 
preShaker 22 
preShaker 23 
preShaker 24 
preShaker 25 
preShaker 26 
preShaker 27 
preShaker 28 
preFlexitone 



pre: 
pre: 



:Bell 1 
:Bell 2 



prc:Bell 3 
prc:Bell 4 
prc:Bell 5 
prc:Bell 6 
prc:Bell 7 
prc:Bell 8 
prc:Bell 9 
preBell 10 
prc:Bell 11 



Tree 

12 
13 

14 
15 
16 
17 



prc:Bel 
prc:BeI 
prc:Bel 
prc:BeI 
prc:Bel 
prc:Bel 
prc:Bel 
preBell 18 
preBell 19 
preBell 20 
preBell 21 
prc:Bell 22 
preBell 23 
prc:Bell 24 
prc:Bell 25 



1092 


pre: 


Bell 26 


1093 


prc:Bell 27 


1094 


prc:Bell 28 


1095 


pre: 


Block 1 


1096 


pre: 


Block 2 


1097 


pre: 


Block 3 


1098 


pre: 


Block 4 


1099 


pre: 


Block 5 


1100 


pre: 


Block 6 


1101 


pre: 


Block 7 


1102 


pre: 


Block 8 


1103 


pre: 


Block 9 


1104 


pre: 


Block 10 


1105 


pre: 


Block 11 


1106 


pre: 


Block 12 


1107 


pre: 


Block 13 


1108 


pre: 


Block 14 


1109 


pre: 


Tam 1 


1110 


pre: 


Tarn 2 


1111 


pre: 


Tam 3 


1112 


pre: 


Tam 4 


1113 


pre: 


Tam 5 


1114 


pre: 


Tam 6 


1115 


pre: 


Tam 7 


1116 


pre: 


Tam 8 


1117 


pre: 


Tam 9 


1118 


prc:Clap 1 


1119 


prc:Clap 2 


1120 


prc:Clap 3 


1121 


prc:Clap 4 


1122 


prc:Clap 5 


1123 


prc:Clap 6 


1124 


prc:Clap 7 


1125 


prc:Clap 8 


1126 


prc:Clap 9 


1127 


prc:Clap 10 


1128 


prc:Clap 11 


1129 


prc:Clap 12 


1130 


prc:Clap 13 


1131 


prc:Clap 14 


1132 


prc:Clap 15 


1133 


pre: 


Clap 16 



1134 
1135 
1136 
1137 
1138 
1139 
1140 
1141 
1142 
1143, 
1144, 
1145, 
1146 
1147, 
1148 
1149 
1150 
1151 
1152 
1153 
1154, 
1155 
1156 
1157, 
1158 
1159 
1160 
1161 
1162 
1163 
1164, 
1165, 
1166 
1167, 
1168 
1169 
1170 
1171 
1172 
1173, 



prc:Clap 17 
preClap 18 
prc:Snap 1 
preSnap 2 
prc:Snap 3 
preSnap 4 
prc:Snap 5 
preSnap 6 
prc:Misc: 1 
preMise 2 
preMise 3 
preMise 4 
preMise 5 
preMise: 6 
prc:Misc: 7 
prc:Misc: 8 
prc:Misc: 9 
prc:Misc: 10 
prc:Misc: 11 
prc:Misc: 12 
prc:Misc: 13 
prc:Misc: 14 
prc:Misc: 15 
prc:Misc: 16 
preMise 17 
preMise: 18 
prc:Misc: 19 
prc:Misc: 20 
prc:Misc: 21 
prc:Misc: 22 
prc:Misc: 23 
prc:Misc: 24 
prc:Misc: 25 
prc:Misc: 26 
prc:Misc: 27 
prc:Misc: 28 
prc:Misc: 29 
prc:Misc: 30 
prc:Misc: 31 
prc:Misc: 32 



Proteus 2500 Operation Manual 307 



Appendix 
Velocity Curves 



Velocity 
Curves 



This section provides diagrams and descriptions of the Proteus 2500 
velocity curves. 




20 40 60 80 100 120 

Played Velocity 

Linear, no change to velocity. 




20 40 60 80 100 120 

Played Velocity 

Expands dynamics in low range, 

emphasizing medium velocity values 

and compressing high velocity values. 




80 100 120 



Played Velocity 

Expands velocity range. 
Outputs high values. 




20 40 60 80 100 120 

Played Velocity 

Compresses velocity range. 




20 40 60 80 100 120 

Played Velocity 

Expands velocity range. 
Soft -> Loud 




20 40 60 80 100 120 

Played Velocity 

Shifts velocity values upward. 
Good dynamic range. 



308 E-MU Systems 



Appendix 
Velocity Curves 



Velocity Curves 




20 40 60 80 100 120 

Played Velocity 

Shifts velocity values up while 
compressing the midde range. 




20 40 60 80 100 120 

Played Velocity 

Similar to Curve 6 with more 
emphasis on the middle range. 




20 40 60 80 100 120 

Played Velocity 

Extreme dynamic range 
compression. Outputs low values. 




20 40 60 80 100 120 

Played Velocity 

Similar to Curve 6. 




20 40 60 80 100 120 

Played Velocity 

Extreme dynamic range 
compression. 




20 40 60 80 100 120 

Played Velocity 

Extreme dynamic range compres: 
but doesn't output low values 



Proteus 2500 Operation Manual 309 



Appendix 
Patchcord Amount Chart 



Patchcord 
Amount Chart 





20 40 60 80 100 120 

Played Velocity 

Less severe version of Curve 1 1 . 



20 40 60 80 100 120 

Played Velocity 

Extreme expansion of 
velocity range. 



The following chart shows the Patchcord "Amount" settings in order to get 
semitone intervals when modulation sources are connected to pitch. 



Semitone 


Patchcord 
Amount 


Semitone 


Patchcord 
Amount 


1 


3 


21 


66 


2 


6 


22 


69 


3 


approx. 9 


23 


approx. 72.5 


4 


approx. 12 


24 


approx. 76 


5 


16 


25 


79 


6 


19 


26 


82 


7 


22 


27 


88 


8 


25 


28 


91 


9 


28 


29 


approx. 95 


10 


approx. 31 


30 


98 


11 


35 


31 




12 


38 


32 




13 


41 


33 




14 


44 


34 




15 


47 


35 




16 


50 


36 




17 


approx. 53 


37 




18 


57 


38 




19 


60 


39 




20 


63 


40 





310 E-MU Systems 



Appendix 
Rhythmic Notation 



Rhythmic 
Notation 

Measures 



Note values 



Triplets 



Time 
Signatures 



This extremely brief overview is intended solely as a refresher and memory 
jogger; for a detailed description of rhythmic notation, see any good book 
on music theory 

A piece of music is divided into measures, and each measure is divided into 
notes. The number of notes, and rhythmic value of the notes, depends both 
on the composition and the time signature (see Appendix C). 

With a measure written in 4/4, there are four beats per measure, with each 
beat representing a quarter note. Thus, there are four quarter notes per 
measure of 4/4 music. 

There are two eighth notes per quarter note. Thus, there are eight eighth 
notes per measure of 4/4 music. 

There are four sixteenth notes per quarter note. Thus, there are sixteen 
sixteenth notes per measure of 4/4 music. 

There are eight thirty-second notes per quarter note. Thus, there are thirty- 
two thirty second notes per measure of 4/4 music. 

There are also notes which span a greater number of beats than quarter 
notes. A half-note equals two quarter notes. Therefore, there are two half- 
notes per measure of 4/4 music. A whole note equals four quarter notes. 
Therefore, there is one whole note per measure of 4/4 music. 

The above notes divide measures by factors of 2. However, there are some 
cases where you want to divide a beat into thirds, giving three notes per 
beat. Dividing a quarter note by three results in eighth note triplets. The 
reason why we use the term "eighth note triplets" is because the eighth 
note is closest to the rhythmic value which we want. Dividing an eighth 
note by three results in sixteenth note triplets. Dividing a sixteenth note by 
three results in thirty-second note triplets. 



A time signature (also called metric signature) describes the meter of a piece 
of music. It consists of two numbers arranged like a fraction, such as 3/4, 4/ 
4, etc. The top number (numerator) indicates the number of beats in each 
measure, while the bottom number (denominator) indicates the rhythmic 
value of each beat. For example, with a 3/4 time signature the numerator 
indicates that there are three notes per measure, while the denominator 
indicates that each of these notes is a quarter note. 4/4 indicates that each 
measure includes 4 quarter notes. Usually the downbeat (1st beat) of each 
measure is emphasized by a metronome to help you get a feel for the meter. 

3/4 and 4/4 are the most common time signatures, but they are by no 
means the only ones. In jazz, both 5/4 (where each measure has five 1/4 
notes) and 7/4 (where each measure has seven 1/4 notes) are often used. In 
practice, complex time signatures are played like a combination of simpler 
time signatures; for example, some 7/4 compositions would have you count 
each measure not as "1, 2, 3, 4, 5, 6, 7" but as "1, 2, 3, 4, 1, 2, 3". It's often 
easier for musicians to think of 7/4 as one bar of 4/4 and one bar of 3/4, 
since as we mentioned, 4/4 and 3/4 are extremely common time signatures. 



Proteus 2500 Operation Manual 311 



Appendix 
Block Diagrams 



Block 
Diagrams 

Volume & Pan 



These block diagrams show the internal signal routings and the functions 
of the various screens. They should prove highly useful when programming 
complex setups or for troubleshooting. 



■M 








ncer 
ding 

ut 


c!p 


< 


CO 




_ m 


■M 






a; i_ q_ 


Q6 


-1 

O 


2 

o 




3 ° c 


2 ~ 








01 01 
00 OS 





01 


.E 


c 






c 


at 


>N 


c 


uo 


LLI 




3 
c 

s 



3 
c 



c 
o 



C I— 



3 
O 
on 

co 
O 



O 

< 

O 



ca 



312 E-MU Systems 



Appendix 
Block Diagrams 



Block Diagrams 

MIDI In 



< 

3 

o 


CQ 

3 

o 


MIDI Out 
(0-31) 





0) 


.c 


c 






c 


ct 


>N 


c 


i/i 


LLI 



cer 
ing 




5 "a 


3 


01 i_ 


Q_ 


3 O 


c 


a- *j 




01 01 




00 OC 






3 
c 



3 



Uj 

c 
o 



- F 



a 



N — 



z 
< 

X 



z 
< 

X 



00 

< 






z z 

I = 



< to U Q 



Proteus 2500 Operation Manual 313 



Appendix 
Block Diagrams 



Block Diagrams 

Triggers & 

Programmable 

Knobs 



a 01 




4-1 














O P 


< 


00 




Synth 
Engine 


Seque 

Recor 

Inp 




_ m 

9 6 
1 w 


■M 
3 
O 


3 
O 










0) 










-Q 


t/1 




<Z 


0J 




5 -2 


U) 




E 


U) 




<B C 






i^^ 


1- 




01 



u 







3 
c 

0) 



0) 



C 

o 
U 
^^ 

1/1 

LLI 
U 

u 
h- 

CO 

O 



3 
c 

0) 



3 

c 
S 



=5 5 



3 
c 



T3 

c 
o 
1/1 



<u 



C 

o 
u 



O 

DC 



o 
u 



Z -7 



N 



on 
< 



I 

< 



U < 

° y 

Bfi O 



5 I 

U < 



CD U Q 



314 E-MU Systems 



Appendix 
Block Diagrams 



Block Diagrams 

Quick Edit 



4-1 
















ncer 
ding 


IP 


< 


CQ 




^ s 




4-1 
01 4-, 




_ m 
Q 6 
2 W 


4-* 

3 

o 


4-* 

3 

o 




C Ol 

>N C 
1/1 LLI 




01 ^ 
1- LLI 
C 




Seque 

Recor 

Inp 



n n 



m t< 




i- 




01 


PI 


r -* 


c 


o» ra 


4-1 


= ,>- 


3 


o-l- 





oi 


G£ 


</i 






./•\_ 



3 




c 
S 



c 
o 
U 



o 



o 

< 

U 
O 



c 
S 



3 
Z 





3 




C 


3 


s 


S 


Ql 


•k-i 




■Q 


p 


Uj 


-k-l 


Cn 


C 
o 


("1 


U 



c =— 



£ 8 
5 I 



M 8 



z 
z 
< 

i 



< 

x 



to 
co 
O 

z 



< to U Q 



Proteus 2500 Operation Manual 315 



Appendix 
E-MU Expansion Sound Sets 



EMU 
Expansion 
Sound Sets 








Eleven different ROM expansions are currently available, with more being 
developed every day ROM expansions typically add 32MB of sound data 
and 512 additional presets. Adding new sounds is like getting a new 
instrument and a sure way to spark your creativity ROM Expansions are 
available from your E-MU dealer. Also check out the official E-MU website: 
www.emu.com for the latest sounds. 



Orchestral Sessions VOLUME 1 

The Orchestral Sessions Vol. 1 expansion 32 MB ROM offers you the most 
realistic and comprehensive collection of section strings available, 
complete with legato, spiccato, pizzicato and tremolande samples, and 
includes special presets for 4 speaker applications. 



Orchestral Sessions VOLUME 2 

The Orchestral Sessions Vol. 2 expansion 32 MB ROM offers you the most 
realistic and comprehensive collection of woodwinds, brass, percussion, 
and solo strings available, complete with velocity switching between p/mf/ 
ff samples, special presets for 4 speaker applications and a percussion 
battery with over 20 instruments. 



Siedlaczek Orchestra Special Edition 

The Peter Siedlaczek Advanced Orchestra Special Edition puts 32 MB of his 
finest ensembles onto a single expansion ROM. String, brass, woodwind 
and percussion ensembles are included in a variety of styles (i.e. vibrato, 
tremolo, pizzicato, sordino, etc.), to give you a diverse collection of 
samples. 



Protozoa 

E-MU presents the 16 MB Protozoa expansion ROM — the ultimate sound 
compilation containing presets from the ground breaking Proteus sound 
modules, all optimized for your Proteus 2500's advanced synthesis and 
filter architecture. 



Sounds of the ZR 

The Sounds of the ZR Expansion ROM faithfully reproduces the diverse 
sounds of ENSONIQ's popular ZR-76 keyboard, including William Coakley's 
Perfect Piano. You'll find everything from synths and orchestral instru- 
ments to one of the finest pianos ever sampled in one soundset. 



Definitive B-3 

John Novello and E-MU present the 32 MB Definitive B-3 expansion ROM, 
a diverse collection of tone wheel organ drawbar settings sampled direct 
and with rotary speakers (chorale and tremolo) to give you the most 
versatile and playable B-3 available! 



316 E-MU Systems 



Appendix 
E-MU Expansion Sound Sets 




to 








X-Lead 

The X-Lead soundset consists primarily of analog, noise and modern 
synthesizer waveforms. These sounds are rich in harmonic texture and are a 
perfect match with the Z-plane filters in your Proteus® family sound 
module. With the included software upgrade, you now have access to 
dynamic and rhythmic features not found on any other instrument. 

PURE PHATT 

The 32 MB Pure Phatt is E-MU's latest Hip-Hop soundset that produces the 
freshest and newest sounds and grooves from top notch producers from the 
East, Southeast and West coasts. Pumping leads and basses, silky pads and 
those unique hits, scratches and drones that your mix needs to bring it to 
the next level are ready to provide the love. 

World Expedition 

An amazing collection of traditional instruments from the four corners of 
the globe including exotic stringed instruments, winds, percussion, and 
chromatic percussion. World Expedition provides you with the most 
realistic ethnic soundset in the world. Discover a world of sounds to bring 
to your music. 

Techno Synth 

Rob Papen and E-MU introduce the 32 MB Techno Synth Construction Yard 
Expansion ROM, a compilation of synth, techno, and ambient sounds from 
one of Europe's finest programmers. From atmospheric pads to punchy sub- 
basses and crunch drum loops, these sounds will help you tear up the dance 
floor! 



Beat Garden 

Dutch sound designer Rob Papen and E-MU introduce the 32 MB Beat 
Garden expansion ROM, a diverse palette of all-new Electronica/Dance 
beats, synths, basses, drumkits, acoustic and electronic percussion. 
Experience the Beat Garden for yourself and add a unique dimension to 
your tracks. 

Proteus Pop Collection 

The 32 MB Proteus Pop Collection offers you all of the bread and butter 
sounds of E-MU's Proteus 2500 Module and PK-6 keyboard with 640 diverse 
presets covering everything from traditional keyboards and orchestral 
instruments to electric guitars, world percussion and drum kits. 

ENSONIQ Project 

The 32 MB ENSONIQ Project Expansion ROM delivers the sounds of 
ENSONIQ's acclaimed Urban Dance Project and Real World collections with 
the Hip-Hop and World sounds heard on countless hits, all optimized for 
E-MU's powerful synthesis and filter architecture. 



Proteus 2500 Operation Manual 317 



Appendix 
Installing Sound SIMMs 



Installing 
Sound SIMMs 



>0 ROMs can be installed in 
any available SIMM location. 
The physical position of the 
sound set does not affect the 
order that they appear in the 
LCD. 



Proteus 2500 can be easily expanded to contain up to 128 MB of sound data 
(4 SIMMs). The sound SIMM sockets are located inside the unit. 

► Open the Unit 

1. IMPORTANT: Unplug power from the unit before opening! 

2. The top panel is secured by seven phillips head screws. First remove the 
two black screws on each side near the bottom of the unit. Next remove 
the three black screws at the top of the back panel. Place all the screws 
in a safe place where they won't roll away or get lost. 

3. The top cover can now be lifted off. Set this piece aside in a safe place. 

► To Remove ROM SIMMs (if necessary): 

1. Orient the unit so that the rear panel is facing you. Ground yourself by 
touching a grounded object. (Such as the chassis of another piece of 
equipment connected to the wall socket with a three-prong power plug.) 

2. On each end of the SIMM socket there is a silver or plastic tab. Use a 
screwdriver or a ball point pen to squeeze the tabs toward the outside of 
the socket while gently nudging the SIMM toward the right side of the 
unit. The old SIMM should "hinge" to the right and can now be 
removed. 



1. 



2. 



Install a New ROM SIMM 

Ground yourself by touching a grounded object, then remove the 
memory SIMM modules from the static protected packaging. 

Notice that one end of the SIMM connector is notched. This notch 
should be oriented towards the rear panel of the unit. When installing 
multiple SIMMS, install the SIMM into the lowest numbered socket first 
(i.e. first CN-5, then CN-6, then CN-7, then CN-8). 



Notch 



1. Set SIMM into 
socket with the 
notch toward rear 
of unit. 




Tilt the SIMM up 
so that both tabs 
click and lock the 
SIMM into place. 



318 E-MU Systems 



Appendix 
Installing Sound SIMMs 



3. Gently set the SIMM deep into the SIMM socket at a 45 e angle with the 
notch toward the rear of the unit. Without forcing the insertion, let the 
board rest in the socket as deep as it will go. It should rest naturally in 
place at this 45° angle. Refer to the diagram on the previous page. 

4. While applying a slight downward pressure on the top of the SIMM to 
keep it from popping out of the socket, tilt the SIMM board into a 
vertical position. You should hear an audible click. Make sure both sides 
of the silver tabs have latched. 



► Reassemble the Unit 

1. Replace the top panel and all seven screws. The screws are all identical. 

► Test It 

The installation is almost finished. 

1 . Turn the unit right-side up and plug in the power cord. 

2. Turn on power. 

3. Press the Preset View button. 

4. Move the cursor under the ROM field and turn the data entry control to 
verify that your new sound ROM has been recognized. 

5. Play the presets on the new ROM banks and verify that they sound OK. 

Problems? 

1. Disconnect power immediately. 

2. Open the unit, and try re-seating the ROM SIMMs. If you're still having 
problems, return the unit to its original configuration and call EMU 
Systems Customer Service at (831) 438-1921. Telephone support hours 
are 8:00-5:00 PST, Monday through Friday. 



Proteus 2500 Operation Manual 319 



Appendix 
MIDI 



MIDI 



MIDI Implementation Chart (part 1) 



MIDI Information 


Transmitted 


Recognized 


Remarks 


MIDI Channels 


1-16A, 1-16B 


1-16 


32 MIDI Chan. 


Note Numbers 


0-127 


0-127 




Program Change 


0-127 


0-127 




Bank Select Response? 


No 


Yes 


MSB + LSB 


Modes: Omni (Mode 1) 
Mono (Mode 2) 
Poly (Mode 3) 
Mode 4 (Y/N) 
Multi (Mode 5) 


No 
No 
No 
No 
No 


Yes 
Yes 
Yes 
No 
Yes 




Note On Velocity 


Yes 


Yes 




Note Off Velocity 


No 


Yes 




Channel Aftertouch 


No 


Yes 




Poly (Key) Aftertouch 


No 


No 




Pitch Bend 


No 


Yes 




Active Sensing 


No 


No 




System Reset 


No 


No 




Tune Request 


No 


No 




System Exclusive 
Sample Dump Standard 
File Dump 
MIDI Tuning 
Master Volume 
Master Balance 
Notation Information 
Turn GMl System On 
Turn GM2 System On 
Turn GMl System Off 
Other (See Remarks) 


Yes 

No 
Yes 
Yes 
No 
No 
No 
No 
No 
No 
No 


Yes 

No 
Yes 
Yes 
Yes 

No 
No 
No 
No 
No 
No 




NRPNs 


No 


No 




RPN 00 (Pitch Bend Sensi.) 
RPN 01 (Chan. Fine Tune) 
RPN 02 (Chan Coar. Tune) 
RPN 03 (Tuning Prog Sel.) 
RPN 04 (Tuning Bank Sel.) 
RPN 05 (Mod Depth Rang) 


No 
No 
No 
No 
No 
No 


No 
No 
No 
No 
No 
No 




MIDI Timing & Sync 








MIDI Clock 


Yes 


Yes 




Song Position Pointer 


Yes 


Yes 


Received only 
when synced to 
MIDI clock 


Song Select 


No 


No 





320 E-MU Systems 



Appendix 
MIDI 



MIDI Information 


Transmitted 


Recognized 


Remarks 


Start 

Continue 

Stop 


Yes 

Yes 
Yes 


Yes 
Yes 
Yes 


Start/Continue 
response only 
from the stopped 
transport state. 


MIDI Time Code 


No 


No 




MIDI Machine Control 


No 


No 




MIDI Show Control 


No 


No 




Extension Capability 








General MIDI Compat? 
Is GM default mode? 


No 
No 


No 
No 




DLS compatible? 
Import DLS Files? 
Export DLS Files? 


No 
No 
No 


No 
No 
No 




Import Std MIDI files 
Export Std MIDI files 


Yes 

Yes 


Yes 
Yes 







Proteus 2500 Operation Manual 321 



Appendix 
MIDI 



MIDI Implementation Chart (part 2 


- Controllers) 


Control # 


Function 


Transmitted 


Recognized 


Remarks 





Bank Select MSB 


Yes 


Yes 




1 


Mod Wheel MSB 


No 


Yes 


* see note 


2 


Breath Cntrl MSB 


No 


No 


* see note 


3 




No 




* 


4 


Foot Cntrl MSB 


Yes 


No 


* 


5 


Portamento MSB 


No 


No 


* 


6 


Data Entry MSB 


No 


No 


* 


7 


Chan Volume MSB 


Yes 


Yes 


* 


8 


Balance MSB 


No 


No 


* 


9 








* 


10 


Pan MSB 


Yes 


Yes 


* 


11 


Expression MSB 


No 


Yes 


* 


12 


Effect Cntrl 1 MSB 


No 


No 


* 


13 


Effect Cntrl 2 MSB 


No 


No 


* 


14 








* 


15 








* 


16 


GenPur Ctrl 1 MSB 






* 


17 


GenPur Ctrl 2 MSB 






* 


18 


GenPur Ctrl 3 MSB 






* 


19 


GenPur Ctrl 4 MSB 






* 


20 








* 


21 








* 


22 








* 


23 








* see note 


24 








* 


25 


~ 


Yes 


Yes 


*FiltAttck 


26 


~ 


Yes 


Yes 


* Filt Decy 


27 








* 


28 








* 


29 








* 


30 








* 


31 








* 


32 


Bank Select LSB 






* 


33 


Mod Wheel LSB 






* 


34 


Breath Cntrl LSB 






* 


35 








* 


36 


Foot Cntrlr LSB 






* 



322 E-MU Systems 



Appendix 
MIDI 



Control # 


Function 


Transmitted 


Recognized 


Remarks 


37 


Portamento LSB 






* 


38 


Data Entry LSB 






* 


39 


Chan Volume LSB 






* 


40 


Balance LSB 






* 


41 








* 


42 


Pan LSB 






* 


43 


Expression LSB 






* 


44 


Effect Cntrl 1 LSB 






* 


45 


Effect Cntrl 2 LSB 






* 


46 








* 


47 








* 


48 


Gen Pur Ctrl 1 LSB 






* 


49 


Gen Pur Ctrl 2 LSB 






* 


50 


Gen Pur Ctrl 3 LSB 






* 


51 


Gen Pur Ctrl 4 LSB 






* 


52 








* 


53 








* 


54 








* 


55 








* 


56 








* 


57 








* 


58 








* 


59 








* 


60 








* 


61 








* see note 


62 








* 


63 








* 


64 


Sustain Pedal 


Yes 


Yes 


* 


65 


Portamento on/off 


No 


No 


* 


66 


Sostenuto 


No 


No 


* 


67 


Soft Pedal 






* 


68 


Legato Footswitch 






* 


69 


Hold 2 






* 


70 


Variation 






* 


71 


Timbre/Har Inten 


Yes 


Yes 


* 


72 


Release Time 


Yes 




* 


73 


Attack Time 


Yes 




* 


74 


Brightness 


Yes 




* 



Proteus 2500 Operation Manual 323 



Appendix 
MIDI 



Control # 


Function 


Transmitted 


Recognized 


Remarks 


75 


Sound Cntrlr 6 — 


Yes 


Yes 


* Decay 


76 


Sound Cntrlr 7 






* 


77 


Sound Cntrlr 8 •» 


Yes 


Yes 


* Vel->Filt 


78 


Sound Cntrlr 9 •» 


Yes 


Yes 


* Vel->amp 


79 


Sound Cntrlr 10 


Yes 


Yes 


& See note 


80 


Gen Purp Cntrlr 5 


Yes 


Yes 


tfa See note 


81 


Gen Purp Cntrlr 6 






* 


82 


Gen Pur Ctrlr 7 ~ 


Yes 


Yes 


* Arp Vel 


83 


Gen Pur Ctrlr 8 ~ 


Yes 


Yes 


* Arp Gate 


84 


Portamento Cntrl 






* 


85 


~ 


Yes 


Yes 


* Sustain 


86 








* 


87 








* 


88 








* 


89 








* 


90 








* 


91 


Effects 1 Depth 


Yes 




* 


92 


Effects 2 Depth 






* 


93 


Effects 3 Depth 


Yes 




* 


94 


Effects 4 Depth 






* 


95 


Effects 5 Depth 






* 


96 


Data Increment 








97 


Data Decrement 








98 


NRPN (LSB) 








99 


NRPN (MSB) 








100 


RPN (LSB) 








101 


RPN (MSB) 








102 










103 










104 










105 










106 










107 










108 










109 










110 










111 










112 











324 E-MU Systems 



Appendix 
MIDI 



Control # 


Function 


Transmitted 


Recognized 


Remarks 


113 










114 










115 










116 










117 










118 










119 










120 


All Sound Off 


No 


Yes 


« See note 


121 


Reset All Contlrs 


No 


Yes 




122 


Local Cntrl on/off 


No 


No 




123 


All Notes Off 


No 


Yes 




124 


Omni Mode Off 


No 


Yes* 


* if enabled 


125 


Omni Mode On 


No 


Yes* 


* if enabled 


126 


Poly Mode Off 


No 


Yes* 


* if enabled 


127 


Poly Mode On 


No 


Yes* 


* if enabled 


NOTES: * Proteus 2500 can transmit and receive ANY continuous controller 
number from 1 to 95. Because of Proteus 2500's powerful synth 
engine, many of the standard MIDI controllers can be user 
programmed to provide the desired function. A "Yes" response in 
this chart means that a controller is programmed by default in 
Proteus 2500. 

J/ Controller 79 is hard-coded to the Mix Output parameter. 
0=Use Preset, l=Send 1, 2=Send 2, 3=Send 3, 4=Send 4 

ti Controller 80 is hard-coded to the Arp Status parameter. 
0=Off, l=On, 2=P (preset), 3=M (master) 

® Value of = reset all except vol & pan; value of 127 = reset all. 
Other: Pan: -64 = hard left, +63 = hard right 



Proteus 2500 Operation Manual 325 



Appendix 
MIDI 



Product ID for Proteus 2500 = OF (15) 

MIDI Device Inquiry Responses 

Family 

MSB 0x04 (Musical Instruments) 

LSB 0x04 (ROM Players) 

Members 

MSB 0x00 (Proteus 2000 series) 

LSB 0x02 Audity 2000 
0x03 Proteus 2000 
0x04 B-3 
0x05 XL-1 
0x06 Virtuoso 2000 
0x07 Mo'Phatt 
0x08 B-3 Turbo 
0x09 XL-1 Turbo 
OxOA Mo'Phatt Turbo 
OxOB Planet Earth 
OxOC Planet Earth Turbo 
OxOD XL- 7 
OxOE MP- 7 
OxOF Proteus 2500 
0x10 Orbit 3 
Oxll PK-6 
0x12 XK-6 
0x13 MK-6 
0x14 Halo 
0x15 Proteus 1000 
0x16 Vintage Pro 



There is only one edit buffer which is used by the current preset (the preset 
shown in the display). You can edit only one preset at a time via SysEx 
commands, although these presets can be edited independently of the 
current preset edited using the Front Panel. Remote Preset selection is 
independent of the edit buffer. Changing the current preset erases the edit 
buffer. 



326 E-MU Systems 



Appendix 
MIDI 



Received Channel 
Commands 



SysEx Specification 



Channels number (n) = 0-15. Message bytes are represented in hex. All 
other numbers are decimal. Running Status is supported. 



Command 


Message 


Comments 


Note Off 


8n kk vv 




Note On 


9n kk vv 


velocity = note off 


Key Aftertouch 


An kk vv 


kk = 0-127 vv = 0-127 


Program Change 


Cn vv 


0-127 


Channel Aftertouch 


Dn vv 


0-127 


Pitch Bend 


En 11 mm 


1 = lsb, m = msb 


Real-time Controller 


Bn cc vv 


cc = 00-31, 64-95 


Footswitch 


Bn cc vv 


cc = 64-79, vv > 64 = on 


Volume 


Bn07 w 


0-127 


Pan 


Bn 0A vv 


0=left, 127=right, 64=center 


All Sound Off 


Bn 78 00 


turns all sound off 


Reset All Controllers 


Bn 79 00 


ignored in omni mode 


All Notes Off 


Bn 7B 00 


ignored in omni mode 


Omni Mode Off* 


Bn 7C 00 


forces all notes & controls off 


Omni Mode On* 


Bn 7D 00 


forces all notes & controls off 


Mono Mode On (Poly Off)* 


Bn 7E 00 


forces all notes & controls off 


Poly Mode On (Mono Off)* 


Bn 7F 00 


forces all notes & controls off 


Bank Select MSB 


Bn 00 bb 


bb = bank MSB (see page 174) 


Bank Select LSB 


Bn 20 bb 


bb = bank LSB (see page 174) 



Special Notes: 

• From Omni Mode Omni Off turns Poly On. 

• From Poly Mode Omni On turns Omni On; Mono On turns 

Mono On. 

• From Mono Mode Mono Off turns Poly On; Omni On turns 

Omni On. 

• From Multi Mode Omni On turns Omni On; Omni Off or Mono 

Off turns Poly On; Mono On turns Mono On. 

• All other changes have no effect. 



Proteus 2500 contains an extensive set of MIDI SysEx commands. (Virtually 
every parameter is controllable via SysEx.) Because of the size and technical 
nature of the System Exclusive specification, it is beyond the scope of this 
manual. The complete SysEx specification for Proteus 2500 is available on 
the official E-mu Systems, Inc. web site: www.emu.com 



Proteus 2500 Operation Manual 327 



Appendix 
Technical Specifications 



Technical 
Specifications 



Audio Channels: 

MIDI: 

MIDI Channels: 

Presets: 

Sequencer 

Timing Resolution: 

Tracks: 

Patterns: 

Songs: 

Filters: 



Audio Outputs: 
Submix Inputs: 
Digital Output: 
Max. Output Level: 
Output Impedance: 

Sound Memory: 
Data Encoding: 
Effects Engine: 
Sample Playback Rate: 

Signal to Noise: 

Dynamic Range: 

Frequency Response: 

THD + Noise: 

IMD 

Stereo Phase 

Power Consumption: 
Voltage Input: 



128 

MIDI In, (2) MIDI Out 

32 

512 user presets. (The number of ROM 
presets is determined by the sound SIMMs 
installed.) 

1/384 quarter note 

16 tracks +1 song track (16 channels/track) 

1024 pattern locations 

512 song locations 

2nd order to 12th order niters 
(50 different types) 

6 polyphonic analog outputs 

4 analog inputs (sum to main outs) 

S/PDIF stereo (AES-pro compatible) 

+4dB 

1000 Ohms 

32 MB (expandable to 128 MB) 
16-bit linear data 
24-bit internal processing 
44.1 kHz 

>92dB 
>90dB 
20 Hz - 20 kHz (+2/-1 dB) 

< 0.02% (1kHz sine wave, A-weighting) 

< 0.05% 

Phase Coherent +/- l e at 1 kHz 

20 Watts 

90VAC-260VAC at 50Hz-60Hz 



328 E-MU Systems 



Appendix 
Warranty 



Warranty 



Limited Warranty 



Warranty 
Restrictions 



Please read this warranty, as it gives 
you specific legal rights. 



This product is warranted, to the original consumer purchaser, to be free of 
all defects in workmanship and materials for a period of one (1) year 
(warranty period is two (2) years in the European Union, effective Jan-1- 
2002), from the date of such purchase from an authorized E-MU Systems 
dealer, provided that: (a) the Warranty Registration Card is filled out and 
returned to E-MU Systems within 14 days of the purchase date; (b) the 
E-MU Systems service center is provided a copy of the consumer purchaser's 
sales receipt; and (c) E-MU Systems has confirmed the validity of the subject 
unit's serial number. 



Specifically, but without limitation, E-MU Systems does not provide 
warranty service for: 

• Damages due to improper or inadequate maintenance, accident, abuse, 
misuse, alteration, unauthorized repairs, tampering, or failure to follow 
normal operating procedures as outlined in the owner's manual; 

• Deterioration or damage of the cabinet; 

• Damages occurring during any shipment of the unit; 

• Any unit which has been modified by anyone other than 
E-MU Systems. 

• Any unit with an invalid or wholly or partially obliterated serial number. 

NO OTHER EXPRESS OR IMPLIED WARRANTY IS MADE, AND E-MU 
SYSTEMS SPECIFICALLY DISCLAIMS ANY IMPLIED WARRANTY OF 
MERCHANTABILITY, SATISFACTORY QUALITY, AND FITNESS FOR A 
PARTICULAR PURPOSE. E-MU SYSTEMS'S LIABILITY UNDER WARRANTY 
IS LIMITED TO REPAIR OR REPLACEMENT OF THE UNIT, OR REFUND, AT 
EMU'S OPTION. IN NO EVENT WILL E-MU SYSTEMS BE LIABLE FOR LOSS 
OF REVENUE OR SAVINGS, LOSS OF TIME, INTERRUPTION OF USE, OR 
ANY OTHER CONSEQUENTIAL, INDIRECT, INCIDENTAL, SPECIAL OR 
EXEMPLARY DAMAGES. 

The foregoing will apply notwithstanding the failure of essential purpose of 
any remedy provided herein. Some jurisdictions do not allow the exclusion 
of implied warranties or conditions, or limitations on how long an implied 
warranty or condition may last, so the above limitations may not apply. 
This warranty gives you specific legal rights. You may have other rights 
which vary from jurisdiction to jurisdiction. 



Proteus 2500 Operation Manual 329 



Appendix 
Warranty 



How To Obtain 
Warranty Service 



All E-MU Systems products are manufactured with the highest standards of 
quality. If you find that your unit does require service, it may be done by 
any authorized E-MU Systems service center. If you are unable to locate a 
service center in your area, please contact EMU's Service Department at 
(831) 438-1921. They will either refer you to an authorized service center in 
your area or ask that you return your unit to the E-MU Systems factory. 



When returning your unit to the E-MU Systems factory, you will be issued a 

Return Merchandise Authorization (RMA) number. Please label all cartons, 

shipping documents and correspondence with this number. 

E-MU Systems suggests you carefully and securely pack your unit for return 

to the factory. (Do not send the power cord or operation manual.) Send the 

unit to E-MU Systems, Inc., 1600 Green Hills Road, Scotts Valley, CA 

95066. You must pre-pay shipping charges to E-MU Systems. 

E-MU Systems will pay return shipping charges. You will be responsible for 

any damage or loss sustained during shipment in any direction. 

3/9 



330 E-MU Systems 



Index 
Symbols 



Index 



Symbols 

"+" modulation polarity 206 
"±" modulation polarity 206 

Numerics 

19-tone tuning 216 
1-bar trigger 243 
1st Pattern Only 97 
2 -pole filters 168 
4-pole filters 168 
6-pole filters 168 



A effect types 251, 252 

Absolute Value Processor 157 

AC Power Switch 31 

AC Receptacle 16 

ADSR Envelopes 279 

AES Pro Output Format 134 

Aftertouch 

mono 149 
Algorithm 

FXA 253, 254 

FXB 253,255 

master FXA 131 

master FXB 132 
All Layers 177, 179 
All Notes Off, MIDI 36 
All Patterns 97 

All Sound Off, MIDI command 36 
Alternate Tunings 134, 216 
Amount 

patchcord 172,205 

quantization 71 
Amplifier 189 
Amplitude 196,278 

envelope 190 

modulation 148 
Arpeggiator 45 

button 36 

channel 45 

controllers 223 

copy pattern 268 



copy settings 267 

copying settings 268 

delay 228, 229 

duration 234 

enabling in song mode 97 

extension 223 

extension count 227 

extension interval 227 

factory patterns 225 

gate 223 

gate time 226 

guided tour 27 

interval 223 

key offset 233 

key range 23 1 

keyboard thru 230 

latch mode 230 

master parameters 223 

MIDI song start 231 

mode 224 

modes 222 

note value 225,229 

patchcord destinations 214 

pattern 222,225 

pattern naming 235 

pattern speed 225 

resolution 223 

status 224 

user patterns 232 

velocity 223, 226 
Assign 

group 194 

tracks to MIDI channels 84, 85, 108 
Asterisk 

in pattern name 49, 263, 269 

in preset name 43, 264 

in song name 269 

removing from pattern 91 

removing from song 112 
Attack 

envelope 191, 200, 207, 282 
Audition 

beats 238 

button 36 

patterns in song step record 93 

patterns while recording songs 93 

preset 24 

riff 219 
Auto Mode 

pattern step mode 66 
Auto-correct 

description 53 

pattern 71 

song 99 



Proteus 2500 Operation Manual 331 



Index 
B 



Automated Mixing 

in pattern mode 59 

in song mode 95 
Automated Pan 

in a pattern 59 

in song mode 96 
Automatic Channel Assignment, 

sequencer 60 
Automating Volume Changes 59 
Aux Channel Assign 86 
Auxiliary Envelope 151,200 

B 

B Effect Types 251,252 
Balance 171 

Band-Pass Filter 167, 196 
Bandwidth 169 
Bank Number 25,43 
Bank Select Display 37 
Banks 25 

selecting 43 

selecting via MIDI 44 
Bar, song 93 
Bar/Beat display 33 
Base Tempo 138 
Basic Channel 43, 238 
Basic Setup 16 
Basics, programming 147 
Beat Markers 52 
Beats 221,238 

busy 241 

channel 238 

initial setup 239 

keys layout 243 

keys offset 244 

part group 246 

part transpose 245 

part velocity 244 

patchcord destinations 214 

played using trigger buttons 236 

riffs 236 

variation 242 
example 240 

velocity group 1-4 241 

xpose group 1-4 241 
Bend Range 126 
Bounce Tracks 

pattern 83 
Breath Controller 122 
Bts Busy 241 
Button 

arpeggiator 36 

audition 36 



compare 36 
controllers 35 
cursor 33 
glide 42 
global 35 

home/enter 36, 115, 123, 137, 221 
MIDI 36 
pattern edit 35 
preset edit 35 
repeat 42, 60 
save/copy 36, 263 
song edit 35 
trigger 41 
Bypass Knobs 42 

c 

Category 

instrument 46 

preset 46 
Center Frequency 169 
Change 

filter type 283 

MIDI preset 142 

preset 26,43 
Channel 

arpeggiator 45 

assign 84 

MIDI enable 141 

pan 45 

selection, MIDI 43 

volume 44 
Channel Aftertouch 

erasing events from a song 102 

erasing from a pattern 75 

thinning events in a song 101 

thinning from a pattern 74 
Chorus 251,261 

width 277 
Chorus, effect 261 
Chorusing 192,277 
Clear Beats Part 236, 237 
Clipboard 

copy track to 81, 106 

cut track to 80, 105 

paste to track 82, 107 
Clock 

divisor 149 

MIDI output enable 140 

modulation 155 

using external MIDI 138 
Clogging the Sequencer 95 
Coarse Tuning 189,276 
Comb Filter 197 
Comb Filter, effect 252, 261 



332 E-MU Systems 



Index 
D 



Compare Button 36 
Conductor Track 90 
Connection Examples 113 
Connection Instructions 16 
Continuous Controller 172 

editing 

pattern 88 
song 110 

erasing events from a song 102 

erasing from a pattern 75 

thinning events in a song 101 

thinning from a pattern 74 
Contour, envelope 149, 191 
Control 

data entry 33 

effects multi mode 130 

keys 237 

volume 31 
Controller 

assigning real-time 141 

footswitch 16, 17, 122 

knobs 37,38,39,40, 121, 173 
modes 37 
programming 120 

menu 115 

MIDI 121, 172 

MIDI #10 45 

MIDI #7 44, 172 

MIDI real-time 172 

pan knobs 40 

programmable knobs 39, 120 

quick edit 38 

realtime assignment 121 

realtime knobs 37 

standardized MIDI numbers 121 

tempo 122 

trigger buttons 41, 116 
Controllers Button 35 
Copy 

bar of a pattern 78 

layers 265 

patchcord 266 

preset 265 

preset banks 268 

preset patchcords 267 

track to clipboard 81, 106 
Count-in 55 
Crossfade 

random 150 

ranges 185 
Current Tempo 138 
Cursor 

buttons 33 

definition 33 



Curve 

glide 195 

velocity 127 

volume 277 
Cut, track to clipboard 80 
Cutoff Frequency 167, 280 



Damping, high frequency 252, 260 

Data Entry Control 33 

DC Offset, example 164 

DCA 171,285 

Decay 

effect A 132,252 

effects 252 

envelope 277 
Default Assignment, beats 237 
Delay 

arpeggiator 228,229 

effect B 133 

effects 251,252,262 

layer 192 

LFO 204 

master FXB 133 

preset link 218 
Delete 

notes from a pattern 
grid mode 65 
realtime record mode 57 

notes from a song 

realtime record mode 95 

pattern, from a song 93 
Demo Sequences 24 
Descending Arpeggiator 222 
Destinations, modulation 156, 207 
Device ID 143 
Digital Output Format 134 
Diode Processor 158 
Disable Knobs 42 
Disable Tracks 84, 108 
Display Edit Button 33 
Display, viewing angle 135 
Distortion Effect 251,262 
Double & Detune 192,277 
Double Time, grid record 64 
Doubling, effect 261 
Dual Channel Beats 238 
Dual Tap, delay effect 262 
Duration 

arp pattern 234 

pattern step mode, note-on 66 
Dynamic Filter 165 
Dynamic Range 328 



Proteus 2500 Operation Manual 333 



Index 
E 



Echo Thru, Local Control on/off 116 

Edit All Layers Enable 134 

Edit Controls 35 

Edit Display Button 33 

Edit MIDI notes 

in a pattern 87 
Editing 

arp user patterns 232 

MIDI notes 
song 109 

presets 275 
Effect 

decay 252 

FXA decay 132 

FXA HF Damping 132 

FXB->FXA 132 

typeB 133 
Effect Diagram 209, 210, 212 
Effects 

A type 251 

B into effect A 258 

B submix routing 133 

B type 251 

busses 249 

by channel number 258 

chorus 261 

decay 252 

delay 252, 262 

description 260 

distortion 262 

doubling 261 

dual tap delay 262 

enabling in song mode 97 

feedback 252, 262 

flanger 261 

FXB feedback 133 

FxB->FxA 253 

global 257 

HF damping 252 

LFOrate 133,252 

master 249, 254, 257 
A algorithm 131 
B algorithm 132 
FxB->FxA 254 
LFOrate 133 

mode, bypass 256 

multi mode control 130 

panning delay 262 

patchcords 213 

preset 209,253 

processor 249 

programming in the preset 253 

returns 19 

reverb 260 

routing diagram 129 



saved with a pattern 48, 58 
saved with a song 50 
send amounts 249 
sends 128 

patchcord destinations 214 
slapback 261 
stereo delay 262 
submix routing, A 132,212,213 
type A 131,211,251,252 
typeB 133,212,252 
vibrato 262 
Enable 
controller knobs 42 
controllers menu 115 
MIDI channels 141 
quick-edit mode 120 
Enter Button 36 
Envelope 
ADSR, programming 279 
attack 191,200,207 
auxiliary 200 
decay 277 
filter 199,281,284 
generator 149, 151 

example 168 
mode, factory 278 
mode, filter 281 
release 277 
repeat 283 
repeating 152 
reverberation 260 
volume 190, 191,277,278 
Equal Temperment Tuning 216 
Erase 
button 42 

deleting patterns with 42, 93 

in grid record mode 42, 65 
controller data 60 

in song mode 96 
controller data in a pattern 60 
entire pattern 57 
events 75 

from a pattern 57, 65, 75 

from a song 95 

in a song 96, 102 
notes 

from a pattern 57, 65 

from a song 95 
pattern event 88 
pattern note 87 
song event 110 
song note 109 
tempo changes 91 
track 57 
Errors, data transmission 144 



334 E-MU Systems 



Index 
F 



Event List Editor 

pattern 88 

song 110 
Event Scroll Field 87, 88, 109, 110 
Event Source 50,94,97 
Event Timing 5 1 
Events 

thinning in a pattern 74 

thinning in a song 101 
Extend Sequence Data To 78 
Extension 

count, arpeggiator 227 

interval, arpeggiator 227 
External Clock, MIDI 138 
External MIDI Keyboard, connection 

example 113 
External Song Start/Stop 140 

F 
Factory 

envelope mode 278 

patterns, arpeggiator 225 
Fail-Safe Power Off 31 
Fc 198,280 
Feedback 252, 262 

FXB 133 
Feel, adding using swing 71 
Fills, beats 236 
Filter 

2-pole 168 

4-pole 168 

6-pole 168 

bandpass 167, 196 

changing type 283 

comb 197,252 

definition 166 

dynamic 165 

envelope 151, 199,281 
attack 282 

envelope generator 199, 284 

envelope mode 281 

frequency 198, 199, 207, 280 

highpass 166,279 

lowpass 166 

mode 281 

morph 170 

notch 167 

parametric 169 

pole 168 

programming 279 

Q 198,280 

swept EQ 169 

troubleshooting 285 

tutorial 165 



type 279,283 
changing 283 

Z-plane 170, 171, 196 
Fine Tuning 189,276 
Fingered Glide, solo mode 194 
First Key, modulation 160 
Flanger Effect 251,261 
Flashing LEDs 52 
Flip-Flop Processor 158 
Footswitch 122, 149 

connecting 16, 17 

programming 117 
Format, output 134 
Free Running LFO 202 
Frequency 

filter 199,207 
center 169 
cutoff 167 

instrument 188, 189 
Frequency Modulation 148 
Front Panel Knobs 37, 120, 287 
FX Cords 213 
FXA Algorithm 253, 254 
FXA Parameters 212 
FXB -> FXA 253, 254, 258 
FXB Algorithm 212, 253, 255 

master 132 
FXB Parameters 213 
FXB Submix Routing 133 



Gain Processor 158 
Gamelan Tuning 216 
Gate 149 

pattern step mode 66 

time 226 
Generator 

envelope 149 

filter envelope 199,284 

noise & random 149 

volume envelope 190 
Glide 195 

curve 195 

key 149 

rate 149, 195 
Global 

button 35 

controller assignments 121 

effects 254,257 

menu 123 



Proteus 2500 Operation Manual 335 



Index 
H 



Grid 
editing 49 
mode 

double time 64 

jumping into from play mode 34 
velocity change 64 
recording, description 61 
Grooves, beat 236 
Group 

beats 236 
Group, assigning channels to a 194 

H 

High Frequency Damping 132, 252, 260 
Highpass Filter 166,279 
Home Position 26 

Home/Enter Button 36, 115, 123, 137, 
221 



I 

Implementation Chart, MIDI 320, 322 
Initial 

pan position 189 

setup 

reloading pattern & song 34, 52, 92 

volume 189 
Input Quantize 53 
Input, rechannelize MIDI 138 
Insert 

meter changes 91 

pattern 93 

pattern event 88 

track mutes into a song 93 
Installing in a Rack 19 
Instrument 171,275 

category 46 

listing 299 

selecting 180 
Inverting LFO Waves 154 



Jump Buttons 

preset edit menu 41 

using 275 
Just C Tuning 216 

description 217 
Just Intonation 216 



K 

Key 
glide 149 
layout, beats 243 
offset, arpeggiator 233 
range 

arpeggiator 231 

keyboard 182 

preset link 218 
sync, arpeggiator 228 
transpose 188 
trigger 243 
tuning 134 
velocity 149 
Keyboard 
beats trigger layouts 236 
key 149 

layering & splitting 286 
pressure 149 
range 181, 182 
semitone transpose 116 
splitting 286 
thru, arpeggiator 230 
transpose 188 

on/off 193 
tuning 216 

19-tone 216 

equal temperment 216 

gamelan 216 

just C 216 

Kirnberger 216 

repeating octave 216 

Scarlatti 216 

Vallotti 216 

Werkmeister III 216 
Keyboard/Knob Channel 116 
Kirnberger Tuning 216 
Knob 
bypass button 42 
controller 37, 173 
keyboard/knob channel 116 
programmable controller 120 
typical functions 287 
Knob Preset Quick-Edit 120 
Knobs Output MIDI 140 



Lag Amount, preset lag 159 
Lag Processor 157 
Latch 

beats part 243 

keys in beats 236 

mode, arpeggiator 230 

triggers 41 



336 E-MU Systems 



Index 

M 



Layer 

copy 265 

definition 178 

instrument 147 

presets 286 

selecting 179 
LED Display 33 
LED View 33 

Left/Right Cursor Buttons 33 
Legato 193 
LFO 201 

effect B 133 

flanger 262 

key sync 202 

master FXB rate 133 

rate 252 

rate, effect 133 

tricks & tips 202 

trigger 154 

variation 204 

waveforms 153 

waveshape 201 
Linking Presets 218,286 
Load, pattern/song setups 34, 52 
Local Control On/Off 116, 117 
Loop, pattern in song mode 23 
Looping Envelopes 152 
Low Frequency Oscillator 149, 153, 201 

delay 204 

free running 202 

sync 201,202 

variation 204 
Lowpass Filter 166 

example 168 

M 

Master 

arpeggiator 27 
parameters 223 

bend range 126 

clock 

current tempo 138 
modulation 154 

effects 130, 249, 254, 257 

FXA algorithm 131 

FXB algorithm 132 

riff 238, 246 

tempo, offset 219 
Measure, definition 311 
Melody Solo Mode 

high 193 

last 193 

low 193 



Memory Size, reducing 
in pattern 74 
in song 101 
Meter 

definition 311 

erasing events from a song 102 
erasing from a pattern 75 
inserting or editing changes 91 
setting in a pattern 69 
Metronome 56, 70, 99 
MIDI 
A-P assignments 121 
bank select display 24, 37 
channel 

routing outputs by 128 

tempo controller 122 
channel inc/dec 

using a footswitch 118 
channel selection 43 
channel shift 138 
channels A or B select 141 
clock 

output enable 140 
continuous controller 

assignment 121 
continuous controller knobs 120 
continuous controllers 149, 172 
controller #7 44 
device ID 143 
enable 141 
event step editing 

in a song 111 

pattern 89 
external clock 138 
footswitch assign 117,122 
implementation chart 320, 322 
inputs A & B 17 
knob transmit 140 
menu button 36 
mode 141,249 
multi mode 146 
multichannel data 85 
note edit 

in a pattern 87 

in a song 109 
note triggers 41, 118, 119 
omni mode 146 
out 

knob enable 140 
pan control #10 45 
panic button 36 
poly mode 146 
port A & B assignments 

song 108 
real-time controllers 172 
receive program change 142 
received channel commands 327 



Proteus 2500 Operation Manual 337 



Index 

N 



recording sysex data 145 

send sysex data 145 

sequencer, recording into an 
external 116 

song start 23 1 

received/ignored 140 

standardized controller numbers 121 

SysEx data, sending 144 

sysex packet delay 144 

sysex, send/receive 145 
MIDI In Channels 141 
Minimoog, solo mode 194 
Mix 

button 32 

display 39 

enabling in song mode 97 

view screen 32 
using 59 
Mix Output 208 

description 128 

function 250 

programmed in the preset 208 
Mod Wheel 149 
Mode 

arpeggiator 224 
latch 230 

controller 37 

effects 256 

factory envelope 278 

filter envelope 281 

MIDI 141,249 

mono 327 

multi 146,249,327 

non-transpose 193 

omni 146,256,327 

poly 146,256,327 

solo 193 

time-based envelope 281 
Mode/View Buttons 32 
Modulation 206 

amplitude 148 

clock 155 

definition 148 

destinations 156 

note-on 156 

polarity 206 

processors 157, 161 

random 150 

routing 205 

sources 149 

sources & destinations 207 

wheel 122 
Momentary Footswitch 16 
Mono Aftertouch 149 
Mono A-I, assign group 194 
Mono Mode 327 



Morph Filter 170 
Multi A/B Channels 84 
Multi Channel 

arpeggiators 28 

MIDI data 85 

pan knobs 40 

track recording 85 

volume knobs 39 
Multi Mode 146,249,327 

effects control 130 
Multimode Map 

send/receive 144 
Multiple Trigger, solo mode 193 
Multisetup 

definition 124 

name 125 

restoring 124 

saving 125 

send/receive 144 
Mute Beats 236, 237 



N 

Name 

multisetup 125 

pattern 68 

preset 178 

song 97 

user arp pattern 235 
Noise & Random Generators 149 
Non-Transpose Mode 193 
Notch Filter 167 
Note & Event order 5 1 
Note Duration 

scaling in a pattern 100 

shifting in a pattern 100 
Note List Editor 

pattern 87 

song 109 
Note Value 

arpeggiator 225,229 

definition 311 
Note-On Modulation 156 
Notes 

erasing from a pattern 57, 65, 75 

erasing from a song 95, 102 



338 E-MU Systems 



Index 
O 



Offset, arpeggiator key 233 
Omni Mode 146,256,327 
On Record, rechannelize 138 
Output 

format 134 

jack 16, 17, 18 

jacks 19 

mix 128,208,250 

mono 16 

routing 208 
Overall Tuning, adjusting 126 
Overdub, realtime controller data 95 



Packet Delay, MIDI sysex 144 
Pan 171 
automation in a pattern 59 
automation in song mode 96 
channel 45 

enabling in song mode 97 
initial 189 
knob control of 40 
preset link 218 
Panic Button, MIDI 36 
Panning Delay, effect 262 
Parametric Filters 169 
Part, beat 236 

Paste, clipboard to track 82, 107 
Patchcord 150,205 
amount 172, 205 
copy 266 
example 161 
routing 156 
Pattern 

arpeggiator 222,225 
duration 234 
naming 235 
repeat 234 
speed 225 
user 232 
velocity 234 
audition in song step record 93 
edit button 35 
edit menu 68 
inc/dec 

using a footswitch 118 
length 68 
listing 294 

loop in song mode 23 
sequencer 

information saved with a 58 
length 56 

changing in a song 93 



in main pattern screen 69 
mode display 32 
number display 33 
record modes 34, 49 
setup information 48, 58 
Pause Mode 34 
Pedal 149 

Performance Controllers 37, 41, 149 
Pink Noise, example 163 
Pitch Wheel 149 

erasing events from a song 102 

erasing from a pattern 75 

master bend range 126 

range 208 

thinning events in a song 101 

thinning from a pattern 74 
Pitch, shifting 276 
Pitchbend Range 208 
Play 

button 34 

pattern 21,52 

patterns & songs 21 

solo layers 219 

song 23, 92 

trigger buttons 119 
Play/Stop 

using a footswitch 117 
Polarity 

modulation & LFO 206 

ramp rate 160 
Pole, filter 168 
Poly Aftertouch 

erasing events from a song 102 

erasing from a pattern 75 

thinning events in a song 101 

thinning from a pattern 74 
Poly All, assign group 194 
Poly Mode 146,256,327 
Poly Pressure Editing 

pattern 89 

song 111 
Poly, assign group 194 
Portamento 195 
Power Consumption 328 
Power Down Sequence 19 
Power Switch 16 
Pre-sequence Setup 5 1 
Preset 

architecture 178 

audition 24 

category 26, 46 

change enable 142 

changes, enabling in song mode 97 

changing 26 

copy 265 



Proteus 2500 Operation Manual 339 



Index 
Q 



edit button 35 

editing 275 

effects 209,253 

links 218,219,286 

listing 299 

menu jump buttons 41 

MIDI changes 142 

naming 178 

random 274 

select screen 32 

selecting 25, 43 

selection 43 

tempo offset 219 

user 145 

view button 32 

view screen 43 
Preset Lag Processor 159 

patchcord destinations 214 
Preset Ramp Processor 159 

patchcord destinations 214 
Processor 

4x gain 158 

absolute value 157 

diode 158 

effect 249 

flip-flop 158 

modulation 161 

preset lag 159 

preset ramp 159 

quantizer 158 
Product Description 1 
Program Change 

editing 

pattern 89 
song 111 

enabling in song mode 97 

erasing events from a song 102 

erasing from a pattern 75 

receive enable 142 
Program->Preset Map 142 

send/receive 144 
Programmable Knobs 120 

enabling 39 
Programming Basics 147 
Punch In & Out 57 

using a footswitch 118 



Q 167, 197, 198, 280, 283 
Quantization, explained 53 
Quantize 

pattern 71 

song 99 
Quantized, arp sync 228 



Quantizer 158, 164 

example 163 
Quarter Note Marker 52 
Quick Edit 

enabling 120 

mode 38 

recording in a pattern 58 

recording in song mode 96 



Rack Mounting 19 
Ramp Rate 160 
Random 

creating presets 274 

crossfade 150 

crosswitch 186 

generator, noise and 149 

modulation sources 150 
Range 

arp extension count 227 

key 181, 182 

keyboard 181 

pitchbend 208 

velocity 183 
Rate 

effect, LFO 133, 252 

glide 195 

LFO 202 

master FXB LFO 133 
Rate/Level Envelopes 151 
Realtime Control of Arps 223 
Realtime Controller 116 

assignment 121, 141 

crossfading 185 

data 

recording in a pattern 58 

tutorial 172 
Realtime Crossfade 185 
Realtime Pattern Record 49, 53 
Realtime Song Record 50, 94 
Receive Program Change 142 
Receiving MIDI SysEx Data 145 
Rechannelize Data 84 
Rechannelize Input 138 
Record 

button 34 

MIDI sysex data 145 

new pattern 56 

pattern in step time 66 

pattern using grid record 63 

quick edits 58 

realtime controller data 
in a pattern 58 

song in realtime mode 94 



340 E-MU Systems 



Index 
S 



Record-Pause Mode 34, 95 

Rectifier 157 

Reducing Pattern Size 74 

Release Velocity 149 

Release, envelope 277 

Reload, pattern/song setups 34, 52 

Rename, arpeggiator pattern 235 

Repeat 

arpeggiator pattern 234 

button 42 

inserting patterns with 93 
recording with 60 

song event 110 

song note 109 
Repeat Button 

inserting events 88, 110 

inserting pattern notes 87 

inserting song notes 109 

inserting tempo changes 91 
Resolution, quantize 71 
Resonance, filter 167, 197, 198, 283 
Restoring Multisetups 124 

via MIDI command 124 
Return Signal 18 
Return To Zero 34,52 
Reverb 251,260 

envelope 260 
Revert to Saved Pattern 91, 112 
Riff 

assignment 219 

controllers 247 

listing 295 

playing 24, 36 

tempo 247 
ROM Card Identifier 25 
ROM Installation 318 
Routing 

FXAsubmix 132,212,213 

FXB submix 133 

modulation 205 

output 128,208,249 
RTZ 52,92 

s 

S/PDIF 

output 17 

output format 134 
Save 

arp menu parameters 124 

arp parameters 221 

controllers menu parameters 124 

global menu parameters 124 

MIDI menu parameters 124 

multiple arp setup 29 



multisetup 125 
preset 264 
preset/volume/pan/arp 

assignments 124 
song 93 
Save/Copy 
button 36,263 
menu 263 
Scale/Shift 
note duration 

in a pattern 73 

in a song 100 
velocity 

in a pattern 77 

in a song 104 
Scarlatti Tuning 216 
Screen Viewing Angle 135 
Selecting 
control data in a song 97 
menus with jump buttons 275 
patterns 52 
presets 25, 43 
Semitones, transpose keyboard by 116 
Send 
amount 249 

FXA 132,212,213 

FXB 133 
effect 128 
preset effect 208 
Sequencer 
controls 34 
definitions 48 
events, definition 48 
metronome 70, 99 
name pattern 68 
overview 48 
pattern 

definition 48 

erase events 75 

grid recording 61 

length 68 

note duration scale 73, 100 

note duration shift 73 

paste track 82 

step mode 
gate 66 

step resolution 66 

step time record 66 

time signature 69 

track copy 8 1 

track cut 80 

transpose 76 

velocity scale 77 

velocity shift 77 
play button 52 
quantize 71 



Proteus 2500 Operation Manual 341 



Index 
S 



amount 71 
resolution 71 

realtime recording a pattern 53 

rechannelize 138 

RTZ 52 

song 

track copy 106 
track cut 105 

songs, definition 50 

stop button 52 

swing 71 

track mute buttons 52 

tracks, definition 48 

transpose pattern 76 
Setting Meter 

pattern 69 

song 98 
Setup 

basic 16 

performance 18 

studio 17 
Shift Note Duration 

pattern 73 

song 100 
Signal Path 171,249 
SIMM Installation 318 
Slapback 261 
Soft Power Switch 31 
Solo Layer 219 
Solo Mode 193 
Song 

& pattern buttons 32 

auto-correct 99 

channel assign screen 108 

deleting a pattern 42, 93 

edit menu 97 

erase events 102 

event source 98 

events only 97 

Inserting a pattern 93 

meter 98 

name 97 

parameters saved with 94 

playing 92 

quantize 99 

realtime mode 94 

record modes 34, 50 

setup information 50 

start, MIDI 231 

step recording 92 

thin events 101 

time signature 98 

track 50 

transpose 103 

velocity scale 104 

velocity shift 104 



Song & Pattern 

event source 97 
Song Mode 92 

button 92 

display 32 

realtime record 50 

step Eedit 50 
Song Start 140 
Song, factory listing 294 
Sound Memory Installation 318 
Sound Navigator 46 

selecting instruments 180 
Sound Start 192 
Sources, modulation 207 
Specifications, technical 328 
Split Keyboard 218,286 

using links 286 
Stack 

layers 183 

presets 218 
Standard MIDI Files 49 
Standardized MIDI Controller 

Numbers 121,322 
Start/Stop Beats 236, 237 
Step Edit 

patterns 49 

songs 50 
Step Number, song 93 
Step Recording 66 

song mode 92 

step-by-step 66 
Step-By-Step Preset Programming 275 
Stereo Delay, effect 262 
Stolen Voices 194 
Stop Button 34,53,92 
Stop/RTZ 

using a footswitch 118 
Studio Setup 17 
Sub Output Jacks 19 
Submix Routing 

FXB 133 
Summing Amp 157, 158 
Summing Nodes 148 
Swept EQ Filter 169 
Swing 71 

definition 72 
Switch Processor 157, 161 
Sync 

arp key 228 

LFO 201,202 
Synth Solo Mode 

high 194 

last 193 

low 194 



342 E-MU Systems 



Index 

T 



SysEx 

packet delay 144 
System Exclusive 

device ID 143 

erasing from a pattern 75 

send data 145 



Tap Tempo 34, 138 

using a footswitch 118 
Technical Specifications 328 
Tempo 

base 138 

change 

using conductor track 90 

change via MIDI controller 122 

controller 122 

display 33 

enabling in song mode 97 

erasing events from a song 102 

erasing from a pattern 75 

listing of factory patterns 294 

offset 219 

thinning events in a pattern 74 

thinning events in a song 101 
Tempo-based Envelope 152, 190, 199, 

278 
Thin Events 

pattern 74 

song 101 
Ticks 0& 1 51 
Ticks-per-note Chart 66 
Time 

arpeggiator gate 226 

master FXB delay 133 
Time Signature 

pattern 69 

song 98 
Time-based Envelope 151, 190, 199, 278, 

281 
Touchstrip 284 

erasing from a pattern 75 

master bend range 126 

thinning events in a song 101 

thinning from a pattern 74 
Track 

& MIDI channel display 33 

copy to clipboard 81 

cut to clipboard 80 

extending the length of 78 

mixing 22 

mute buttons 52 

mutes 

recording into a song 93 

muting 22 



priority 51 
Track/Channel +/- Buttons 33 
Transmission Errors 144 
Transmit MIDI Clock 140 
Transmit MIDI, knob 140 
Transpose 126, 188, 189 

arpeggiator 227 

beat part 245 

pattern 76 

preset link 218 

rubber keypads 116 
Trig Hold, beats 237 
Trigger Buttons 41, 118, 119 

controlling multiple arps 28 
Trigger Channel 238 
Trigger Key 236 
Trigger Mode 41, 119 
Triplets, definition 311 
Troubleshooting 285 
Tune 126 
Tuning 189,276 

19-tone 216 

coarse 276 

equal temperment 216 

fine 276 

gamelan 216 

just C 216 

key 134 

keyboard 216 

Kirnberger 216 

repeating octave 216 

Scarlatti 216 

Vallotti 216 

Werkmeister 216 
Tutorial 

filter 165 

synth programming 275 

u 

Unlatch Beats Part 243 
User 

banks 25 

key tuning 134 

presets 145 

tuning tables 134 
User Pattern 

arpeggiator 232 

naming 235 

repeat 234 

velocity 234 



Proteus 2500 Operation Manual 343 



Index 



V 

Vallotti Tuning 216 
Value, metronome 70, 99 
Variation 

beats 242 
Variation, LFO 204 
Velocity 

arpeggiator 226 

changing in grid record 64 

crossfade 183, 184 

curve 127,308 

key 149 

preset link 218 

recording in pattern step mode 66 

release 149 

scale 

song 104 

scaling in a pattern 77 

shift 

song 104 

shifting in a pattern 77 

user pattern 234 
Vibrato, effect processor 262 
Viewing Angle, screen 135 
Voices, stolen 194 
Volume 

automation in pattern 59 

channel 44 

control 31 

control #7 44 

curve 277 

enabling in song mode 97 

envelope 151, 171, 190, 191, 277, 278 

mixing in song mode 95 

preset link 218 

W 

Waveform 

instrument list 299 

inverting 154 

LFO 153 
Werkmeister Tuning 216 
Wheel 

modulation 149 

pitch 149 
Width, chorus 277 



Z-Plane Filter 170, 171, 196 



344 E-MU Systems